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9 


BEALE & CO. 

Commission Merchants, 

FOR THE PURCHASE AND SALE OF 



WOOL, 

No. 147 DUANE STREET, 

« ' 


iSTEW YORK 













A TREATISE 



m) WEAVING 


PLAIN AND FANCY WOOLEN CLOTHS. 


WITH 

MORE THAN 

ONE HUNDRED WEAVES OP 
THE LATEST AND MOST STAPLE AND 
POPULAR STYLES, FROM A TWO-HARNESS PLAIN 
weave up to a forty-eight harness FANCY WEAVE, 
ACCOMPANIED BY RULES AND CALCULATIONS. TOGETHER WITH MORE 
THAN THIRTY ILLUSTRATED PICK-OUTS OR DIAGRAMS. ALSO, DIRECTIONS AS 
. TO THE MANNER OF REDUCING LARGE AND COMPLICATED DESIGNS TO 
THEIR LOWEST TERMS, WITH THE CROSS-DRAWHNG-IN- 
DRAFTS FOR THE SAME. RULES FOR PICKING 
CUT SAMPLES, AND OTHER RULES AND . 

TABLES OF IMPORTANCE TO 
MANUFACTUR¬ 
ERS. 

— — 

f ) 

By A:“A. b’XLDWIN, 


WEAVER AND DESIGNER, 


r 


BRASHER FALLS, 

ST. CO., l^T- 


gor h: 

PETERS & RICHARDS, PUBLISHERS, 
55 reads STREET., 






l\'» 



1878. 










s' 


'o")- 




^ 0 - 

% 


Entered according to Act of Congress, in the year 1883, by 
THE INDUSTRIAL RECORD CO., (Limited), 

In the Office of the Librarian of Congress, at Washington. 


i 

.7 

4 


1 






PREFACE. 


To the art of weaving naturally belong so naany separate 
branches dijBfering so materially in principle, that an experienced 
weaver in one branch is often entirely unfamiliar with the others. 

This work relates chiefly to one branch, that of weaving plain and 
fancy woolen cloths, in which the constant demand for novelty and 
variety, to keep pace with the competition of foreign manufacturers, 
renders a general knowledge of all its parts and details of the utmost 
importance both to the manufacturer and the operative workman. 

In the course of the work, the different classes of weaves have 
been explained under their respective heads, and arranged in their 
simplest and most natural order, while their general connection with and 
dependence upon one another as a system, have been explained and 
illustrated in such a manner that any person of moderate acquaint¬ 
ance with the art, may, with a little attention, easily comprehend the 
whole, and be able to apply the principle of any one class of weaves 
to the extension and improvement of another, so as to give the 
greatest diversity to his patterns. 

The author has endeavored to furnish such a book to the manufac¬ 
turing community as he believes is needed among certain classes, and 
it has been his aim and object to afford, in a form which could be pub¬ 
lished at a price within the reach of all, a more comprehensive, 
practical work upon the chief branches of weaving, than has ever 
before been written, and which contains the most modern and 
simplified principles adhered to by the best designers and weavers. 
He has endeavored to follow the subject of weaving closely, but has 
not attempted to teach designing thoroughly, as books have already 
been published upon that art which do it justice. The author does not 


% 



believe that a man can become a practical weaver or designer simply by 
studying this book, for those arts can only be mastered by years of 
study and experience, as theory and practice should go together. 

This work is more especially calculated for those who are 
familiar with the running of looms, and have a little understanding of 
weaves and patterns, but without much knowledge of the different 
classes of weaves and their construction, or of their combinations. It 
is believed that persons of ordinary intelligence will be able, on exami¬ 
nation of the different pick-outs with their drawing-in-drafts, which 
are laid out plainly, to learn the whole art of reducing patterns and 
forming them into cross-draws, and with a little practice' to become 
proficient workmen. 

A. A. H. 

Brasher Falls, N. Y., January, 1878. 


INDEX. 


Page. 

CHAPTEE I. 

The Art of Weaving..... 7 

CHAPTEE II. 

Taste in the Selection and Designing of Patterns.. .0 

CHAPTEE III. 

The Arrangement of Colors in Patterns.12 

CHAPTEE IV. 

On “ Picking Out,” or Drafting from Sample.14 

CHAPTEE V. 

On Weaving Plain Cloths...17 

CHAPTEE VI. 

Double Pick and Basket Weaving ...22 

CHAPTEE VII. 

The Weaving of Twills. 24 

CHAPTEE VIII. 

On the Weaving of Diagonal Cords...21) 

CHAPTEE IX. 

'The Weaving of various kinds of Eibs.36 

CHAPTEE X. 

Miscellaneous Weaves .41 

CHAPTEE XL 

Combination of Weaves.50 

CHAPTEE XII. 

Tables and Eules. 51 




















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ERRATA. 

On page 22, seventh line, read “ with one thread drawn into 
each, etc.,” instead of “two threads, etc.” 

Plate No. 3, Pickout No. 9, Weave 54 should be Weave 64. 

Plate No. 4, Pickout No. 11, Weave 58 should be Weave 68. 

Same Plate, Pickout No. 12, Weave 59 should be Weave 69. 

Same Plate, Pickout No. 13, Weave 60 should be 70. 

I 

Same Plate, Pickout N©. 14, Weave 61 should be 71. 





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A 


TREATISE 


ON DESIGNING AND WEAVING 

PLAIN AND FANCY WOOLEN CLOTHS. 


CHAPTER I. 

THE ART OF WEAVING. 

Those who would attain to excellence in the art of Plain and Fancy- 
Weaving should place themselves under the tuition of an experienced 
master, and even then they will find that a considerable practice and 
application will be necessary before much proficiency can be expected. 

With a little attention and perseverance, however, a person of mod¬ 
erate capacity may soon acquire enough knowledge of the loom to 
enable him not only to weave any pattern from a draft, but also to put 
into practical shape such forms or ideas as his own fancy may suggest. 

The first attempts of a learner in this art should be to acquire a 
thorough knowledge of the operations about the loom ; then to set 
his patterns up, and have them run correctly. After he has made 
sufticient progress in these branches, he may proceed with weaving 
from simple weaves, particularly at first from the least complicated 
specimens of the kind of patterns to which his attention is to be after¬ 
wards directed. The beginner, when first attempting to weave from 
his own fancy, should be very cautious as to the objects which he 
selects for his patterns and the manner in which they are to be woven, 
for his taste and judgment in making these selections and experiments 
will govern, in no small degree, his peculiar “ style ” ever after. 

He will therefore be much benefited in the early stages of his pro¬ 
gress, by procuring as great a variety of appropriate styles as possible 
for future use, which can be copied either from imagination or by the 
dissection of the original pattern, and in this way he will afterwards, 
with a little modification of their forms, be able to give a considerable 
diversity to his patterns. At the same time he ou"ht to avoid as much 





8 


THE ART OF WEAVING. 


as possible a certain sameness of style, which is sometimes found in 
patterns even from the best designers. 

The whole art of weaving can rightfully be divided into a great 
many different branches, which are too numerous to be laid out and 
explained in this small work ; but as I do not intend to go outside of 
the boundaries of weaving plain and fancy woolen cloths, it is not 
necessary (nor do I feeel competent) to speak of any branches, ex¬ 
cept those used in the manufacture of such cloths. All the diversity 
of which these branches are susceptible comes from the manner in 
which the threads of warp are separated, or the harnesses operated to 
receive the filling. 


TASTE IN THE SELECTION AND DESIGNING OF PATTERNS. 


9 


CHAPTER IL 

TASTE IN THE SELECTION AND DESIGNING OF PATTERNS. 

Designing is perhaps the most important, as well as the most, 
delicate department in the whole course of fancy weaving, for it is on 
a judicious selection and extensive variety of patterns, combined with 
economy in the disposal of colors, that the success of the manufacture 
will untimately depend. 

The manufacturer, therefore, though no designer himself, should 
possess a competent knowledge of patterns, or at least of aiTanging 
colors. This would not only improve his taste, but would enable him, 
when any new or striking objects occurred, to communicate his ideas 
with precision to the designer, and to make a more tasteful selection 
from the productions of others. Such is the case in some mills now, 
and the consequence is, patterns from those mills are usually distin¬ 
guished for the ease and elegance of style, while the greatest economy is 
observable in the use of the materials of which they are manufactured. 

On the other hand, the qualifications of a designer who would excel 
in his profession, are by no means of a superficial nature. 

A facility in drafting or delineating any pattern that he may 
happen to come across, whether natural or imaginary, combined with 
a thorough knowledge of the principles of weaving, at least with those 
branches with which he is more immediately connected, are indispen¬ 
sable qualities. 

The designer, like the poet and painter, ought to possess an 
unlimited fancy, and a strong and lively imagination ; to be deeply 
impressed with the beauties and charms of nature, and to be able to 
draw from them the principal effect of his designs. 

A refined taste, also, is as necessary’ in the designer as in the manu¬ 
facturer, for nothing can be more offensive to a person of genuine 
taste than to see a pattern crowded with an incongruous assemblage 
of distorted objects. 

Since taste, therefore, is essential in every branch of fancy wearing 
and designing, as well as in the other branches of cloth manufacturing, 
while, at the same time, it is so very difficult to distinguish between a 
good taste and one of an inferior kind, it may be of use here to in¬ 
quire what is the true standard by which the different tastes of men 


10 


TASTE IN THE SELECTION AND DESIGNING OF PATTERNS. 


may be compared, so as to discriminate between the true and the 
false. 

In some men only the feeble glimmerings of taste appear, and the 
beauties which tney relish are of the coarsest kind, and of these 
they have but a weak and confused impression ; while in others, taste 
rises to an acute discernment, and a lively enjoyment of the most 
refined beauties. 

In general, we may observe that in the powers and pleasures of taste 
there is more remarkable inequality among men than is usually found 
in point of common sense, reason, and judgment. 

The characters of taste, when brought to its most improved state, 
are all reduceable to two : delicacv and correctness. 

Delicacy of taste respects principally the perfection of that natural 
sensibility on which taste is founded. It implies those finer organs of 
powers which enable us to discover beauties that lie hid from a vulgar 
eye. One may have a strong sensibility, and yet be deficient in deli¬ 
cate taste. He may be deeply impressed by such beauties as he per¬ 
ceives, but he perceives only what is in some degree coarse and bold, 
while chaster and simpler ornaments escape his notice. In this state, 
taste generally exists among the rude and unrefined. 

But a person of delicate taste sees both keenly and accurately. 
He sees distinctions and differences where others see none, and the 
most simple beauty does not escape his notice, and he is sensible of 
the smallest blemish. 

Delicacy of taste is judged by the same marks that we use in 
judging of the dehcacy of an external sense. As the goodness of the 
palate is not tried by strong flavors, but by a mixture of the ingredients 
where, notwithstanding the confusion, we remain sensible of each, in 
like manner delicacy of taste appears by a quick and lively sensibility 
to its finest, most compound, or most latent objects. 

Correctness of taste respects chiefly the improvements which that 
faculty receives through its connection with the understanding. 

A man of correct taste is one who is never imposed upon by 
counterfeit beauties—who always carries in his mind that standard of 
good sense which he employs in judging of everything. He estimates 
with propriety the comparative merit of the several beauties which he 
meets with in any work of genius ; refers them to their proper classes, 
assigns the principles as far as they can be traced, from whence their 
power of pleasing flows, and is pleased himself precisely in that degree 
in which he ought, and no more. 

It is true that these two qualities of taste, delicacy and correctness, 


TASTE IN THE SELECTION AND DESIGNING OF PATTERIW. 


11 


mutually imply each other. No taste can be thoroughly cori’ect with¬ 
out being delicate ; but still a predominancy of one or the other 
quality in the mixture is often visible. 

The power of delicacy is chiefly seen in discerning the true merit of 
a work ; the power of correctness in rejecting false pretensions to 
merit. Delicacy leans more to feeling—correctness more to reason and 
judgment. 

The former is more the gift of nature ; the latter, more the product 
of culture and art. 


12 


TUE ARRANGEMENT OF COLORS IN PATTERNS. 


CHAPTER TIL 

THE ARRANGEMENT OF COLORS IN PATTERNS. 

In the colored branches of fancy cassimeres, the distribution or 
arrangement of color's in a pattern is of no less importance than the 
choice of weave to apply to it; and any person who has the least ex¬ 
perience in the arrangement of colors in patterns, will perceive that 
some colors will have more brilliancy and effect when placed together, 
than when they are placed separate or beside some others. 

This arises neither from taste nor imagination, but is founded in 
nature, and may be explained on the princij)les of optics, for it is well 
known that the seven prismatic colors have exactly the same relation to 
each other as the notes in an octave in music, and therefore the effect 
produced by artfully disposing of the kindred colors is no less pleasing 
to the eye than the con(^ords of musical sounds are grateful to 
the ear. 

Colors, therefore, with respect to the effect which they thus produce, 
may be arranged under two heads—namely, those which are contrast¬ 
ing, and those which are harmonizing. The contrasting colors ai’e 
such as are most opposed to each other ; the harmonizing colors are 
those intermediate tints which lie between the contrasting ones, and, as 
it were, blend them together. 

The contrasting colors may be discovered by a very simple optical 
experiment. Place, for example, a red wafer on a sheet of white 
paper, and look on it steadily for some time until the eye becomes tired, 
and a ring of green will begin to appear round its edge ; and even after 
the eye has been removed to another part of the paper, the green ring 
will still be visible. Hence, green is said to be the contrasting color 
of red, and red, on the contrary, is the contrasting color of green. 

In like manner it may be found that purple is the contrasting color 
of yellow, blue of orange, violet of a mixture of yellow and orange, 
and black of white. 

The compounds of these colors will also have their contrasting and 
harmonizing ones. Thus, purple inclining to red, has for its coI^ 
trasting color, yellow inclining to green ; purple inclining to blue has 
yellow inclining to orange, and so hkewise with the other compounds. 
On the other hand, a harmonizing color will be the nearest tint to the 
original, but farthest, except the original from the contrasting color. 


THE ARRANGEMENT OF COLORS IN PATTERNS. 


13 


Yellow is, therefore, the harmonizing color of white, orange of 
yellow, red of orange, violet of red, and blue of violet, <fec. 

Different shades of the same color, such as light and dark green, 
light and dark red, light and dark blue, etc., when they are distinct, 
form likewise very bold contrasts ; but when the same color runs 
through a variety of shades, from a very dark to a very light tint, such 
tints approach to the nature of harmonizing colors. 


14 


ON “picking out.” or drafting from sample. 


CHAPTER IV. 

ON “picking out,” or drafting FROM SAMPLE 

The ability to “ pick out,” or draft, from samples, is an important 
qualification for the designer or weaver, and is one which cannot be 
learned by theory, without the aid of practice. I shall give here, for 
the benefit of beginners, a few brief explanations of the methods ; but, 
for a person to become an adept in the art of picking out or drafting 
from samj)le, he should be, for some time, under the personal instruc¬ 
tions of a practical designer, who explains, as he goes along, the manner 
of picking out and drafting various styles of weaving, and, at the same 
time, observes all false movements on the part of the learner. With 
all of these advantages, however, it requires a person of good intellect 
and judgment, with years of practice, to make a good draftsman. But 
it is not always the case that persons desiring to learn this art have 
the spai-e means to pay a designer for his personal services, 
as they would like to do, and it is more especially for such persons 
that the following explanations are intended. It is hoped that by 
closely observing them, they will, in due time and practice, make such 
progress as shall enable them to pick out any ordinary pattern rapidly 
and with ease and accuracy. 

When having samples to be drafted, observe carefully, by means of a 
sharp knife, if there is much nap on the back of the saniple ; if so, it 
should be removed by shaving, (care being taken not to cut the 
threads,) or by holding it over a lighted match and scorching ofif the 
nap, being very careful not to burn the threads. Having done this, 
ascertain which are the warp threads, and which the filling. This can 
be found by picking out a thread each way of the sample, as the warp 
threads are supjDOsed to be harder twisted and stronger than the fill¬ 
ing. Should you fail to detect them in this way, you have only one 
means left, and that is by the feeling of the nap on the face of the 
sample, which always runs with the warp ; and the surest way to de¬ 
tect how the nap runs is by placing the sample on your cheek, which 
is more sensitive to the touch than are the fingers, and moving it 
carefully up and down, and from right to left. In this manner you 


ON “ PICKING OUT,” OR DRAFTING FROM SAMPLE. 


15 


will find that it feels smooth one way and rough the other, the smooth 
way indicating the way the nap lays. 

Having now satisfied yourself which way the warp and filling run^ 
procure a few squares of designing paper and the tool used for picking 
with, which should be a small round-pointed awl with a handle attached 
that will fit your hand nicely, which should be held in the same man¬ 
ner as the pen when writing. Next, place the sample in the left hand, 
under the end of the thumb and over the fourth finger, with the next 
finger extended up partly over the fourth finger, holding the sample 
down tightly, and at the same time ready to receive all threads that 
have been passed by examined, under it, and out of the way of the 
others. The sample being held now in the right position, proceed 
with picking out the filling threads from the warp until you have 
about one-quarter of an inch freed from the filling, this being suffi¬ 
cient to begin picking with. Cut off the warp threads at the right 
hand corner for a space of about one-half of an inch, and close up to the 
filling threads. Everything is now in readiness for business, and the 
picking out is continued as follows (beginning always at the right- 
hand side, and reading to the left): 

Raise one filling thread up from the rest with the point of the awl, 
sufficient to detect whether it passes over or under the warp threads. 
If it passes under, then of course the warp thread was raised to 
admit the filling in passing under. Therefore, call it one up, and note it 
down on the design paper by the character X; at the same time write 
down the color of the warp thread over the top, and the filling thread 
at the right. Having done this, pass the warp thread examined under 
the third finger, and take up the next one in rotation (being careful 
not to get them crossed); and if it is found under the filling thread, 
then it must have been down, to have allowed the filling to pass over 
it. Therefore, call it one down, and note the same on the paper by 
leaving a blank space, or making a dot thus •, and in this manner 
keep passing to the left, noting down all the warp threads as they 
appear over and under the filling, until you find a repeat, or get the 
wudth of the pattern ; then withdraw that filling thread and raise 
another, and proceed the same as before ; and then another, and 
another, and so on, until you find a repeat in the filling. This giving 
a repeat both ways, you have the picking out completed ; and if the 
pattern is found to be too large to weave with a straight draft, it must 
be reduced, which is accomplished in the following maimer : 

Begin with the first warp thread at the left hand side, and mark it 
No. 1; then pass on to the right, looking for more threads woven in 


16 


ON “picking out,” ok drafting from sample. 


the same manner, reading from top to bottom, so many up and 
so many down, and all threads found to read the same as Jso. 1 mark 
them with a figure 1. Then begin back again and mark the second 
thread No. 2 (if not like the first), and continue with this the same 
way as before, and in like manner keep proceeding until every warp 
thread in the pickout is numbered ; and as these numbers read, so 
are they to be drawn into the harnesses, each number to be drawn on 
to a corresponding number of a harness, and the highest number de¬ 
notes the number of harnesses required to weave the same, 
be seen that the pickouts in this work and the drawing-in drafts are 
governed by this principle.) 

The more fully to illustrate the preceding remarks, I have placed 
below an illustration of a small pickout, which will more clearly show 
their meaning. 


Dressing of Warp Pattern. 


Top. 


.Si 


Bottom. 


539353 93 c 3 o 32 


.® jrf 

c3o3o3o^9353o3jS*Cc303 

^ , S S5So oooo wS 

White. 

Black. 

□♦♦D4nG«4aD4;n4D*n4D4an44aa44ni=:4'* 

♦ ♦□C44!DD!4*Gu«Dn4#CG4iG»*Ga**D4»aD 

1234214321431342 13424 12341231133 


■c 


s 

o 3 

XI 

ja 


Repeat¬ 

ed. 


f«aG»4Ga4 

Front. 


3 DG40QQ04DC 

1 4nDDa4anD4Dn4nnG4nDGa4gaD4uG44iGD 


The Drawing in Draft. 


Reading from top to bottom shows the manner each warp thread is ivoven in. 
Reading from right to left, shows the manner each filling thread is woven in. 


In the above illustration, as the threads appear at the top of piclr- 
out, so do they appear in the sample, and the same with the filling 
threads at the right. 

There are, of course, exceptions m all cases, and the reader may 
often find it more convenient to pick out the warp threads instead ol 
the filling, and in such a case hold the sample in same manner as 
before (reading from the right to the left), and all threads that appear 
up call them down, and those that appear down call them up, bearing 
in mind to note them down on the designing paper as reading upwards 
from the bottom to the toj). 







ON WEAVING PLAIN CLOTHS, 


17 


CHAPTER V. 

ON WEAVING PLAIN CLOTH 

Having given an idea of what is necessary to the attainment of 
excellence in the art of plain and fancy weaving, it will now come in 
place to exhibit a few appropriate weaves used in the manufacturing 
of plain cloths. The first of these in order is the original two har¬ 
ness weave, which is thus ; 

Weave No. 1. 

P* 

mu 

1 2 

Tliis is the principal weave used in making all kinds of flannels, 
prints, ginghams, and other finer grades of dress goods ; it is also 
used to a certain extent in weaving a variety of fine light weight cas- 
simeres for summer use. 

Each thread of filling passes over and under a thread of warp al¬ 
ternately ; and by dressing a warp of one thread drab and one of 
white alternately, and using filling the same, it produces a perfect hair 
line by having the drab filling thread pass under the white warp and 
over the drab, and the white to pass over the white and under the 
drab, and in like manner with any two colors desired. And, again, 
it is used in weaving fine double and twist goods, when several colors 
are to be displayed equally. 

In weaving fine goods where more ends are used in the warp than 
would be practicable for the working of two harnesses, it is necessary 
to add on two, four, or six harnesses more, in order to give free access 
to the working of the heddles, as it does not do to have the heddles 
crowded on any harness, for such would cause the warp to chafe and 
break ; and as this would make slow weaving and unprofitable cloth 
for the manufacturer, it is always best to use a sufiicient number of 
harnesses, and especially if the warp is inclined to go badly. The next 
in order is vveave No. 2, which represents the plain broad cloth weave. 

Weave No. 2. 

mmmu 

12 3 4 

The filling passes under three warp threads, and over the fourth in 


18 


ON WEAVING PLAIN CLOTHS. 


succession, which throws f of the warp on the face of the goods. 
When used with good filling, this weave makes a very strong and 
durable piece of cloth. 

This, applied to a warp of all single yarn of a dark brown, with 
filling all double and twist of black and white, twisted twelve turns 
to the inch, makes a handsome piece of goods for whole suits, but 
should be finished on the wrong side, or, in other words, reverse the 
weave, which will be as weave No. 3—that is, calling the sinkers (as in 

Weave No. 3. 

»□□□ 

□□□« 

12 3 4 

No. 2) risers, and the risers sinkers, which manes No. 3 weave. Sink¬ 
ers denote harnesses down, and are represented by the blank squares 
in the weave, or loom chain pattern,) while the risers denote har¬ 
nesses up, which are represented by the black characters. The figures 
at the bottom of weaves denote the number of each harness in ro¬ 
tation. 

Weave No. 4, 

D*«n 

12 3 4 

Weave No. 4 represents what is called the broken twill cassimere 
weave ; it does not make a very fine face, but it comes under the 
head of plain weaving, and is used to a great extent in the manufac¬ 
turing of plain melton cassimeres. This weave is produced from the 
common four harness cam loom, and will weave the four harness cas¬ 
simere twill by drawing the warp in on what is called the skip shaft 
draw, which is 1,3, 2,4, with the harnesses numbered in rotation. This 
point will be brought up again under the head of Twills, where I 
shall endeavor to give it a more thorough explanation. The common 
coarse grays, for which there is such a demand, are mostly made 
from this weave, and a good rule for making these goods is as 
follows : Warp of 1,200 ends on the heavy side of 2 run, laid out 40 
inches in the reed, (inside of selvage) which will require a No. 10 
reed with three threads in a dent. Filling, 1| run, with 30 picks to 
the inch. This makes a piece of goods that handles well, and will 
finish 13 oz., which is the standard weight for this class of goods, 
although there are more that fall short of this weight than there 
are that come up to it. 


ON WEAVING PLAIN CLOTHS. 


19 


Weave No. 5. 

12345678 * 

Weave N’o. 5 repi’esents one kind of a beaver weave, and requires 
8 harnesses and 4 bolts of chain. A very good rule for a beaver made 
from this weave is as follows : warp of 2,280 ends of white yarn 4 run 
fine, drawn through a No. 14 reed, with 4 threads in a dent. This 
will make it a little over 40 inches in the loom, h^jlling should be all 
fine shoddy, of 2 run yarn, with 48 picks to the inch, and color in the 
piece black. It is best to use two shuttles, run on the pick and pick 
motion, to insure perfect goods. 

It wiU be noticed in the above weave that the harnesses, numbered 
2, 4, 6 and 8, have only one riser to three sinkers, which makes these 
for backing threads, while 1, 3, 5 and 7, have three risers to only one 
sinker ; therefore these are for weaving face threads. For instance, 
dress a warp of 1 thread fine yarn, good stock, and 1 thread coarse 
yarn of poor stock, and draw in straight draft ; it brings the tine yarn 
on harnesses 1, 3, 5 and 7, while the coarse is all on harnesses 2, 4, 6 
and 8 ; this weaves that part of the warp made of poor stock on the 
back of the cloth, while that of the finer grade is woven on the face, 
which gives the goods the appearance of having all fine stock in the 
warp ; the filling threads are all woven in alike—that is, one-half on 
the face, and one-half on the back—to each thread of filling, which 
makes it a substantial weave in the use of poor stock. 

Weave No. 6. 

B. 

B. 

B. *□□□ 

B. □□□« 

12 3 4 

Weave No. 6 represents what is used to a great extent in the 
manufacturing of plain faced, double and twist goods. It only re¬ 
quires 4 harnesses, but 8 bolts of chains. It may be observed that in 
this weave the harnesses operate alike ; or, in other words, they each 
rise and fall the same number of times in succession, and that there 
are no harnesses employed in the weaving of backing threads as in 
the preceding weave, but there is a backing thread used in the filling 
which appears on the bolts as marked with the letter B on bolts 1, 3, 


20 


ON WEAVING PLAIN CLOTHS. 


5 and 7, while bolts 2, 4, G and 8, are for the face thread to pass 
through on. A very good rule for making a double and twist cassimere 
with this weave is as follows : Make warp of 1320 ends of 2J run yarn 
for the single and the D. and T. to be made from 5 J run yarn, doubled, 
and twisted 18 turns to the inch, dress the warp 4 threads black and 
light gray D. and T., and 2 threads single black. Filling same weight 
of yarn as the warp, and to run thus : 1 thread black and grey D. and 
T., 1 black ; 1 black and grey D. and T., and 3 black. The D. and T. 
threads are to appear on the face, while the black threads weave in on 
the back, and one thread on the face to each pattern. Reed it 40 
inches in the loom, and put in from 44 to 48 picks to the inch, which 
will make a very strong and durable piece goods, that will finish up 13 
oz. and over, according to the number of picks. 


Weave No 7 

B. »«»««»«««□»« 

B. 

— O5-^0C to — — 

c — w 


This represents the weave used in one class of goods called Mos¬ 
cow’s, which are very heavy, and are intended for cloakings and over¬ 
coatings ; it has a plain looking face, and looks well when nicely 
finished. It requires 12 harnesses and 12 bolts of-chain ; every third 
pick of filling is for backing, and appears on the bolts marked. This 
makes two threads weave on the face of the goods to one on the back ; 
therefore, the face threads have to be a great deal finer than the back¬ 
ing. These goods are always woven white, of double width, and colored 
in the piece. A good rule for making them is this: warp 4800 ends of 
4 run yarn laid out in loom 80 inches wide ; this requires a No. 10 reed 
with 6 threads in a dent. Filling for face to be 5 run fine, of good 
stock, backing to be of coarse shoddy IJ run, put in 65 picks to the 
inch. This makes the cloth weigh from the loom a little over a pound 
to the single yard. 


ON WEAVING PLAIN CLOTHS. 


21 


Weave No. 8. 

*♦□*□□*«□*□□ 

♦«nn«n«»nG«i» 

□»n*«an*D«aD 

1^ tC/CO**^OT Oi-vlOo 

O K) 


Weave No. 8 is also another weave used in the manufacturing ol 
this class of goods. It will be observed, in the preceding weave, that 
there are no harnesses employed in the weaving of backing threads in 
the warp, when in this weave it will be seen that the harnesses 3, 6, 
9 and 12, weave backing threads, which is every third thread for back¬ 
ing, the same as in the filling, and for this reason (that these threads 
can be made of lower grade stock) this weave is better adapted in the 
weaving of heavier weight Moscow's than the former one. 


Weave No. 15. 

□□*□□□«□ 

B. «□«««««« 

B. 

B. 

B. 4il!C»!□«««« 

□□«□□□«□ 

□□□«□□□« 

h.amitmmmmm 

B. ««□««««« 

B. 

12 3 4 5 6 7 8 


Weave No. 9. 

Weave No. 10. 

Weave No. 11. 

□ □□« 

□ □□« 


Damm 

12 3 4 

12 3 4 

12 3 4 

Weave No. 19. 

Weave No. 13. 

Weave No. 14. 

*□□□ 

momm 

ooam 

»□□□ 

»□□□ 

□ □□« 

□ □□« 

nmam 

12 3 4 

12 3 4 

12 3 4 


The weaves, 9, 10,11, 12, 13, and 14, are all appropriate weaves in 
making medium weight goods, but weave No. 15 is designed to be 
used where a heavy weight is desired on goods of nice colors, that are 
to be finished close, and show a nice, smooth face. All the above 
weaves are apphcable alike to all grades of plain cassimeres. 


DOUBLE PICK AND BASKET WEAVING. 




CHAPTER VI. 


DOUBLE PICK AND BASKET WEAVING. 


Weave No, 16. 

1 2 4 


Weave number 16 represents what is called a double pick. It works 
on the same principle as a plain weave, but instead of two harnesses 
being employed, there are four, and 1 and 2 work in succession, with 
3 and 4 twice over, which receives two picks of filling in a shade instead 
of one. It may be observed that by using two harnesses, and drawing 
two threads in a heddle on each harness alternately, that it produces 
the same pattern as four harnesses with two threads drawn into each 
heddle in succession, 

W^eave No 17. 

1 2 3 4 5 6 
Weave No. 18. 

»♦*«□□□□ 

□□□□*♦♦♦ 

12345678 


The weaves 17 and 18 are what is designated as the basket weaves, 
and can be carried up to 12 harnesses, and even more in some in¬ 
stances. They can be woven with two harnesses on the same principle 
as No. 16, but it is not practicable on account of the crowding of the 
heddles. 

Weaves of this class in general are calculated to be used with warps 
of one color and filhng of another, and are used to a great extent in 
the combining of other weaves in fancy patterns. 

An odd (but quite pretty) pattern can be produced from No. 18 
made as follows. Warp 1200 threads, of three run yarn, dressed thus : 

4 black 


4 light gray 


3 times over. 


DOUBLE PICK AND BASKET WEAVING. 


23 


8 black 

4 light gray ) „ 

4 black f 

8 light gray 

64 threads in warp pattern. 

Filling to be the same as warp in every respect, with 40 picks to 
the inch, warp laid out in the reed 37| inches, which requires No. 8 
reed with 4 threads in each dent. The filling chain and shuttle boxes 
should be set in such a manner that there will but one color appear in 
a shade. This will cause the shuttles to change alternately at the 
changing of each shade, except when the 8 threads of one color appear, 
and then one shuttle remains to fill two shades before changing. 

There has been nothing as yet mentioned in this work about 
selvages, for the reason that in the preceding branch of “ Plain 
Weaving ” the selvage threads can be so arranged on the harnesses em¬ 
ployed as to dispense with the selvage straps, or, in other words, 
harnesses ; (although it is not practicable, for nice plain even selvages 
are preferable to any others on all grades of woolen cloths). But take 
it in this branch of weaving, it is essentially necessary to employ sel¬ 
vage harnesses, for it will be readily seen that in using those weaves, 
and all others of similar character, that have two or more picks in a 
shade, that if there were not selvage harnesses employed which would 
catch and retain every pick in succession, there would be nothing to 
draw the filling from the bobbin ; therefore the shuttle would carrj^ the 
same pick of filling back and forth every time, except, when the shade 
changed, and then one pick only would be retained, and this only in 
cases where there were an odd number of picks in a shade, such as three 
or five, which would cause the thread to be retained alternately on 
each side, at the changing of the shades. But with an even number, 
such as two, four, and six, none would be regained, for the reason that 
the shades change every time with the shuttle in the same box, or 
on same side of the loom, which would not permit of any weaving of the 
cloth, as there would be no yarn drawn from the bobbin, except what 
would naturally come off from the catching of fibres. This would be 
sufficient to cause snarls of filling to now and then weave in, which 
would be the extent of the weaving produced. 


24 


TUE WEAVING OF TWILLS, 


CHAPTER VII. 

THE WEAVING OF TWILLS. 

Twills differ in respect to the number of harnesses employed, and 
the manner in which the warp and filling threads are interwoven. 

Next to plain and basket weaving, twills are the most extensive 
in their application to every branch of cloth manufacture ; they not 
only serve as a ground on which other decorations are woven, but 
they form purely, on their own principles, some of the most beauti¬ 
ful patterns which can be produced in the loom. The number of 
twills which may be produced by the varying of the drawing in plan, 
or the order of operating the harnesses, is very large. The first weave 
in order here is No. 19, which is called the three harness twill. This is 

Weave No. 19 

1 2 3 

Weave No. SO. 

m.mc 

mam 

12 3 

sometimes called the blanket twill, from its being frequently employed 
in the weaving of blankets. Nos. 19 and 20 are the same weaves re¬ 
versed ; 19 throws two-thirds of the warp on the back of the goods, 
and one-third on the face, while 20, throws two-thirds on the face and 
one-third on the back. No. 19 would be called' a filling face, while 
No. 20 would be called a warp face, which is frequently used in the 
weaving of fine double and twist cassimeres, and is also used to a great 
advantage in large combination patterns. 

Weave No. 21. 

moam 

12 3 4 

Weave No. 21 represents what is called the common cassimere, four 
harness twill, and is woven on the cam looms to a great extent. 
Probably this is used more than any other weave in the manufacturing 
of all grades of woolen cloths. Not only is it used to a great extent in 
the constmction of a great variety of beautiful and pleasing designs 
produced from the fancy loom, but there can also be a large variety of 


THE WEAVING OF TWILLS. 


25 


fancy figured stripes produced from it in the common cassimere cam 
loom, such as double picks, broken twdlls, right and left hand twills, 
etc., all of which can be combined and produced in one pattern on the 
cam loom. 

In the weaving of any class of twills, it is necessary to have them 
run with the twist of the warp, in order to have the twill look full and 
even, otherwise they will look flat, and not appear above the face of the 
filling thread. For instance, in the above weave, which throws the same 
amount of warp and filling on both sides of the goods, it will be 
noticed that the twill on one side looks flat and not distinct. This, of 
course, is the wrong side, and the twill runs the reverse of the twist in 
the warp, while on the other side it will be seen that the twill looks 
fuU and distinct. This is the right side of the goods, and it will be 
seen that the twill runs with the twist of the warp. 

Thus, if the warp is spun with a right hand twist, the twill should 
run to the right ; if spun with a left hand twist, it should run to the 
left. 

There are two ways of producing this effect—one is by the drawing 
in of the warp ; the other is by the hitching up of the treadles. In 
governing it by the warp, commence drawing in in the usual way, be¬ 
ginning on No. 1 harness, and drawing from you across the harnesses 
in succession; this will throw the twill one way, while beginning on No. 
4 harness, and drawing towards you in succession, will throw it the 
other way. In governing it by the treadles, draw the warp in the 
former way, and hitch up the treadles according to figures Nos. 1 and 
2. Let the straight lines represent the treadles, and the numbers the 
manner of hitching them up ; thus the number of a treadle must be 
hitched to a corresponding number of a harness. According to fig¬ 
ures Nos. 1 and 2, it will be seen that No. 1 set of treadles is hitched 
up to the right, and No. 2 to the left. 

Fig. No. 1. 

* 1 . 

a. —i 


3. 



3. 

2 . 


From these illustrations, the reader will be able to see and compre¬ 
hend what is required for the changing of the twill, with the treadles. 










26 


THE WEAVING OF TWILLS. 


For an illustration of the right and left hand twills, and combina¬ 
tion of stripes spoken of, see piclcout No. 1 on plate No. 1. It will be 
seen from this that the whole design is composed from the 4 harness 
cassimere weave (which is marked out at the upper left hand corner of 
the pickoutjJ and in order to produce it, it must be drawn in accord¬ 
ing to the drawing in draft as marked out, or in other words, as the fig¬ 
ures read at bottom of pickout. This pattern can be made with an all 
black warp of 1460 ends of 3 J run yarn, drawn in a 9| reed, 4 threads 
in a dent, with filling all a light gray of 3 run yarn, 42 picks to the 
inch, which makes a very pretty fancy stripe. 

The stripes have to be formed in the weaving. 

Below I present a few of the many fancy twills, although Nos. 23 


Weave No. 22. 

1 2 3 4 5 


Weave No. 23. 

123450 


Weave No. 24, 

□□*□**□ 

wnonmo* 

123456? 


Weave No. 25. 

»□□□□**« 

1 2 3 4 5 6 7 8 


Weave No. 26. 

*□□*□*□« 

1234 5678 


W^eave No. 27. 

□ □□□*«□!#« 
»□□□□*«□« 
»»□□□□«*□ 

12345678S> 


Weave No. 28. 

*□*□*«□*□□ 


Weave No. 29. 


Weave No. 30. 


Weave No. 31. 


□*□*«*□□□*□* 


»-> »*cc.u.c;t Ci-joo 

O -* Ml 


i«^»nnD**nn»*nDn» 




^ K>Ci> VI Oi-^CXl’-O 

O I-* 05 .tk «1 OS 


and 25 do not go in that class, as they are simply the common 6 and 8 
harness twills. There are a great variety of fancy twills, too many to 
be published in a work of this kind, as they would fill a large volume 


THE WEAVING OF TWILLS. 


27 


alone, but these few are sufficient to show the reader the way they 
range, and are some of the most appropriate ones in use. A very pretty 
piece of goods can be made from weave No. 25, rule as follows : Warp 
1200 ends drawn through a No. 15 reed, with 2 threads in a dent, 
which makes it 40 inches in loom, and gives a good chance for fulling 
the goods. Dress the warp as follows : 

3 threads black, spun two run. 

1 “ blue and black, D. and T. each 4i run, twisted 8 

turns to the inch. 

5 “ black, 2 run. 

1 “ orange and black, D. and T. twisted 14 turns to the 

inch each spun 7 run, and a 4J run thread of 
black twisted round the same 4 turns to the inch. 

10 threads in pattern. 

Filling pattern as follows : 

3 threads black 2 run. 

1 “ red and green D. and T. twisted 18 turns to the inch, 

each of 7 run, with a thread of 4J run twisted 
round the same 4 turns to the inch. 

5 ** black 2 run. 

i “ black and white D. and T. with thread twisted 
around and made in same manner as other 
thread of twist. 

» 

10 threads in pattern. 

Weave this with 32 picks of filling to the inch, and it makes a piece 
of goods that will finish about 13 ozs. with a melton finish, which 
makes a very pretty thing for whole suits, and very durable in service* 
A nice variety of patterns can be made in this manner by changing 
the threads of double and twist and using different colors in various 
ways, but the ground-work should remain the black yarn, as black is 
preferable with high colors in patterns of this kind. 

Weave No. 23 makes a very pretty little twill, and is used to quite 
an extent in the construction of many beautiful designs. For an il¬ 
lustration of one, see plaie No. 1, pickout No. 2. This shows a 
very pretty design, produced entirely from the six-harness twill. It 
may be observed that the pattern runs the same in both warp and fill¬ 
ing, and in order to produce this it is necessary to build the loom chain 
the full length of the design, as marked off at the left hand side, which 
is the weave, and the warp should be drawn in as marked out at the 


28 


THE WEAVING OF TWILLS. 


bottom. By taking the top of the pickout as marked thus, it makes 
a very nice combined herring-bone stripe, by drawing in same way as 
the original. This, of course, could be produced on the six harness 
cam loom. A good rule for making this pattern is as follows. Warp 
1620 ends of a dark slate drab spun 3f runs, laid out in the reed 36 
inches inside of selvage. This would require a 15 reed 3 threads in 
a dent; filling to be all a light silver drab of 4 run, with 50 picks 
to the inch, and give a close finish. 


ON THE WEAVING OF DIAGONAL CORDS. 


29 




CHAPTER VIII 


ON THE WEAVING OF DIAGONAL CORDS 


From the preceding examples of plain and fancy twills, the weaving 
of diagonal cords will be more easily understood. They do not, how¬ 
ever, take as extensive a range in the general production of cloths as 
the twills do, at the present time, but are used to a greater advantage 
in the weaving of heavier weight goods, for the reason that they are 
more adapted to the application of backing threads in both warp and 
filling, and also have a larger quantity of floating threads. Weave 32 

W’eave No. 82. 

**.o**^zm 

♦♦'♦♦□□□a 

12345678 


shows a good representation of a cord. It will be seen that, in the 
weaving of the filling, every other thread acts as a backing, while 
in like manner one appears on the face of the goods, and the largest 
float in the filling is the face thread, which is 4 up and 4 down alter¬ 
nately. 

In the warp it will be seen that the co.d is formed by the floating 
of seven warp threads over the filling, in succession, while the weaving 
between the cords is done by the raising of three warp threads in 
succession. Therefore, it will be seen that in the operating of the 
warp threads, that 10 are raised and 6 dropped in succession to every 
16 threads of tilling. This causes ^ of the warp to be woven on the 
face, while only | are woven on the back, and | of filling woven on the 
face to on the back, which makes a warp face piece of goods, and 



30 


ON THE WEAViNG OF DIAGONAL CORDS. 


as a general rule cords range in this manner, there being a larger 
quantity of warp on the face than of filling. 


Weave No. .’JS. 

□ C#UaD!#!4! 

»□□□*□*« 

□□□*□»«« 

□#»#□□□« 

12345678 


Weave 33, however, shows a cord that has a filling face, as the 
largest quantity of the warp is thrown to the back, while that of 
filling appears on the face. This makes a pretty cord for fine light 
weight goods, for which a good rule is as follows : Warp 1600 ends of 4 
run yarn, all black, drawn into a No. 10 reed, with 4 threads in a dent. 

Filling a dark steel mix of 3| run yarn, with 40 picks to the inch. 
This will make a pretty pattern for a whole suit, or any paid of one. 

For an illustration of a nice large cord to be used in weaving wors¬ 
ted coatings, see Plate 1, Weave No. 34, and also Weave No. 35, of 
same Plate, which is formed from the first 24 bolts (at the top) of 
weave 34, but is repeated to 48 bolts in order to show the manner in 
which the cords unite, which makes a very pretty pattern. The 
warp threads in both patterns will be observed to have a float of nine 
threads where they form the cord, and in weave 34 the filling-thread 
for face has a float over seven warp threads, while the backing threads 
float under six warp threads at the most ; but in weave 35, the filling 
thread float on the face is woven in at the center by the rising of one 
warp thread, whiJe the backing remains the same. This floating thread 
in the other weave can be changed as in this, which would be an im¬ 
provement if using coarse yarn, and also weave the float threads of 
warp in at the center, which would cause them to weave the cord 
thus: 4 up 1 down 4 up, in succession, instead of being 9 up in succes¬ 
sion. 



ON THE WEAVING OF DIAGONAL CORDS. 


31 


Weave No. 36. 

□#i#;Gan«a4! ♦)□□□□♦«□«□««□□□ 

CGG«c«*nnnn»#ia*a««anDD»« 

»G#>n««Daan*4i:j#rjDD*»nDDD4i 

»«D««aDDG##-u»«aaDD««nDna 

□^^□□□□«4in«aDD*«nnna*#a« 

s^G«G**nnDD«*Dnn«D'#‘finDDD* 

»^4innDD*sfcGnan*»D««iaDan##a 

i-^K^co <^00*^ OH^ioco coo 


Weave 36 represents another very handsome fancy cord, which is 
intended for worsteds, and from this same weave several beautiful 
patterns can be accomplished. It is also appropriate for the weaving 
of tine goods made from common w^oolen yarn. For an illustration of 
the different patterns that can be made from this one, see Plate No. 2, 
Pickout No. 3, which shows a very pretty diamond, and to weave the 
same, use the half of the Pickout, which is marked off the weave,'' and 
draw in according to the drawing in draft, allowing the figures at left 
hand to represent the harnesses. To make a herring-bone stripe 
from this design, use only the top half of the present weave (which 
would be the 24 bolts), and draw in the same as for the diamond 
figure. A very good rule for using this weave is as follows : Warp of 
2,400 ends of 5 run yarn drawn through a No. 11 reed, 6 threads in a 
dent. Filling 5| run, 80 picks to the inch. 

Another very large pattern for a diagonal cord is weave No. 37 on 
same plate, which requires a 48 harness loom to weave it, as it cannot 
be reduced any. This weave is made similar to No. 36, only greatly 
enlarged, and there are two rows of figures between cords instead of 
one, with a little more float in both the filling and warp threads. 


32 


ON THE WEAVING OF DIAGONAL CORDS, 


Weave No. 38. 


Weave No. 39. 


Weave No. 40. 


□**«□□*□»»»□ 


i^««sc4i^4!anDna 

□□□*'4ia»4i«an* 

«□□□♦#□♦♦♦□□ 

*□□□□□*♦♦□«« 

*«□□□□□*♦♦□« 

♦:4!«nD«DGa45#3 

♦♦♦□□□□□♦♦♦a 


Weave No. 41. 

»4-c4!«#iGD*aa« 


(♦t»«aac*G»^4!G»«*a 

t—» M k.a haA 


^K^Za «s|QC<« O' 


The weaves 38, 39, 40 and 41 are other specimens of nice cords ; 
38 and 40 might be classed as fancy cords. It may be seen that these 
two weaves are very much alike ; all the difference is that 38 has a 
single cord, while 40 has a double cord, which requires 4 harnesses 
and 8 bolts of chain more than the other to make it. Weave 41 is a 
nice specimen for fine goods, and will make a smooth and even cord, 
while the others are more adapted to the weaving of coarse and 
heavier weight goods, without using any backing threads. But for 
the manufacturing of heavy weights, designed for over-coatings. 


ON THE WEAVING OF DIAGONAL CORDS. 


33 


weaves 42 and 43 are more appropriate. It will be observed that in 
weave 42 the harnesses 2, 4, 6, 8, 10, 12 and 14, weave a backing to 


Weave No, 42. 

H B B B B B B 




the warp, and that every other pick of filling is a backing thread, and 
as the largest quantity of both warp and filling are thrown on the 
back of the goods, it makes a nice weave for using waste and other 
inferior stock, which can be worked up to a good advantage. 


Weave No. 43. 

»«n'4iGl#GGaG#G*G«»i 

^-■♦♦G«D*aGGG«a*G!« 

^^♦♦a«G^DGGGWa*G 

□♦♦♦4iG*a«GGDC*C« 

SG^^^^G^G^^GGGCSG 

□♦□♦♦.♦«G*G*CanGll 

»G'4-G#-^^.#a«J*GGGG 

a^a#a»4i*4)C#G*GaG 

□ G»n#G»*#«G*G‘»CG 

□aG*a»G»^^«a«G!#G 

□ana^a^a»»*«a*a<« 

(♦GnGG*a»c««»*a*G 

□♦nGGa^G^G?# 

^□♦aGaG^c«c»««#G 

□!iia*aGGG*G«G!#*'**« 





34 


ON THE WEAVING OF DIAGONAL COIIDS. 


The weave 43 has no backing in the warp, but has a very heavy 
one in the filling ; it will be seen that the warp threads float over nine 
filling threads in succession, which forms the cord, and there is also 
the same float in the backing thread every alternate pick, and for the 
reason of there being so much floating of threads it will be necessary 
to use a large number of ends in the warp, and put in all the filling ' 
possible in order to have a firm piece of cloth ; otherwise the goods 
would have a very loose feel, which is called slazey. Such goods are 
not very profitable to wear, and neither are they very easily sold, 
except to those who are not judges of this class of goods. In addi¬ 
tion to the Diagonal cords, there is another kind known as the 
straight cord, which v/ill run length-wise and cross-wise of the cloth 
at right angles, if desired, or either way single. 


Weave No. 44. 


m**m 

□□□□ 

□□□□ 

□□□□ 

□□□□ 


□ □□□oo 
□□□□ =0 

□ □□□ -I- 

□ □□□ ^ 


123 45678 


I 


Weave No. 44 shows a specimen weave for this kind of a cord. It 
will be seen that it is simply a plain weave, with 4 threads drawn on 
one harness, or 4 harnesses to operate alike, according to the weave, as 
marked through the center. Each four harnesses form a cord by 
themselves, warp-ways; but if required to have the cord run filling- 
ways, then it would be only necessary to turn the weave around so 
that No. 1 harness, as it stands now, would be No. 1 Bolt of chain at 
the top, and the top bolt as now would be No. 8 harness, according to 
the figures at the right hand side of the weave, which would indicate 
the harnesses, while the figures that are at the bottom now would be 
on the left hand side, and indicate the numbers to the bolts of the 
loom chain. This class of cords are often used separately from any 
other weave, in the manufacturing of many nice patterns, but is used 
to a greater extent in combinations with other weaves. When used 
separately, such patterns are often called Basket ribs, especially if 
combined like weave No. 45, which will be spoken of further on in the 
work. I shall drop this subject, and also that of diagonal cords, 
here, believing that the reader has information enough before him to 



ON THE WEAVING OF DIAGONAL CORD3, 


35 


Weave No. 45. 


»**<#inann4)G'^a«D*n 

s»n'#in«njiaDnDa«««* 

□*Gwpwn«nnna*»«ii 

M ^ Vi^ 


give him a good idea of this branch of weaving, although there will be 
other illustrations brought up that will also help in more fully under¬ 
standing these. 


36 


THE WEAVING OF VARIOUS KINDS OF RIBS. 


CHAPTER IX. 


THE WEAVING OF VARIOUS KINDS OF RIBS. 


Takinjr the various kinds of ribbed weaves combined, and they 
probably form nearly as great an assortment of beautiful fancy 
patterns as any other branch in the art of weaving—although at the 
present time of writing there are not as many ribbed patterns in style 
as have been heretofore. The three principal kinds of ribs are known 
as the Plain straight rib, the Diagonal lib, (which runs bias with 
the cloth,) and the Basket rib, which sometimes goes under the name 
of “cords.” With these ribs, patterns of various ligures can be 
formed, but as there are almost always a large number of floating 
threads in this class of weaves, it is generally necessary to use some 
simple specimen of a plain weave, in connection with the rib weaves^ 
for the purpose of weaving the ribs together, and dispensing with so 
many long, floating threads. In some weaves of this class the backing 
threads of filling float under as many as 20 warp threads, and in some 
instances even more, while the warp threads will float over as high a 
number as 15 or more filling threads. Such, however, are not profit¬ 
able weaves to use ; and no manufacturer ought to allow them 
used inside of his mills, unless he dr*es not care how the goods are 
made. 

As a general thing, most ail ribs can be reduced, more or less, and 
be woven on fewer harnesses than the original draft or pickout has repre. 
sented in it, and as such pickouts in all ordinary ribs do not run up 
to an extensive size, it may be well to place a few of them here, and 
not have to refer to the plates for them. The first here represented is 
Pickout No. 4, and is that of a nice fine rib, which is woven herring¬ 
bone style. 

The Pickout No. 4. 




«D 

d 

<o 

> 

03 


0) 






12 3 123 1 3 2 1 3 24.5 6 78fi78« 8768754 
□□□□□□□□□□□r:GGG«GG'*GGG«GG*GG 

□«□□♦□□□«□□*□□□□□□□□□□□□□□□□ 

i»!DD»nG^GD!^GnnnGDnGDDOJGnnnnG 

The Drawing? in draft, 28 threads in pattern. 




THE WEAVING OF VARIOUS KINDS OF RIBS. 


37 


It will be seen that to weave this pattern by drawing through the 
harnesses a straight draft, it would require 28 harnesses, but by re¬ 
ducing according to the figures as marked at the bottom of pickout, 
it can be woven on 8 harnesses by drawing in like the draft, which reads 
the same as the figures are marked down. This style of pattern is in¬ 
tended for all one color of yarn in both warp and filling. Bolts 1, 3 
and 5 are for backiug threads, of a great deal heavier weight than that 
for the face. 

To use a warp of 1890 ends, it will produce 5 ribs to the inch, as 
ever}' 14 threads of the warp produce one rib, but there are two ribs 
in the full pattern of w^eaving. 


Weave No. 47. 




Weave 47 represents another very pretty little rib. It can be woven 
by using the cross draw on four harnesses, but as there are only 11 
threads in the full pattern, it is best to use 11 harnesses, and draw in 
straight draft, as the weaver is less apt to make mistakes in weaving on 
a straight draft than when on a cross draft, especially if they have a 
breakout in the warp, which is nothing new to occur in any weave 
room. 

A very good rule for this pattern, and have 7 ribs to the inch, 
is as follows : Warp 2080 ends of 4j run yarn, dressed 8 threads light 
drab, 3 threads dark slate ; draw through a No. 13 reed, 4 threads in a 
dent, which will make it 40 inches wide in loom inside of selvage, and 
will give it a good chance for fulhng ; for ribs generally need much 
fulling to make them handle well, and also to throw the rib up full and 
round. Filling for face to be spun 5 run (of same color as warp) and 
for the backing 3 run ; put in all the picks to the inch it will take with¬ 
out extra straining on the warp, and this will make a good firm piece 
of goods, that looks well made up into pantaloons. 


38 


THE WEAVING OF VARIOJS KINDS OF RIBS, 


Piokout No. 5. 


00 3 

□«□□□*□*□□□♦ 8 

t e 

>□*□*□*□□□«□□5 

s □□□sn^DtPaDD* 4 


Weave 48, with Pickout, shows a rather large rib combined with a 
smaller one, although it would not be thought so by looking at the 
pickout, as that shows an equal number of threads in each rib ; but by 
close observation it may be seen that in one half of the pickout the 
warp threads float over 5 filling threads in succession, while in the other 
half they float over but 3 threads in succession ; therefore this rib 
weaves the tightest in both filling and warp, for it will be seen, that the 
face filling threads weave in plain, while in the other rib, the face filling 
weaves in a three harness twill, and at the same time the backing 
threads weave in alike in both, which causes the rib with the plain face 
to full up small but round, while the other looks more flat and broader, 
which gives it the appearance of being as large again. This will look 
well made with about ribs to the inch. 

Weave No. 49. 


»«G««G«*G«a*«a#n«G»!a#iGG« 

G*j#iG««G*«G#GG*aAa«G4iG«4^« 

12312 3 1 2 3 145 67rt767H7fi789 

□GGGGaGGGGGaaanGGaaaGGG-f! 

□GGaGGaGGGCGGGGGGaGGGaSG 

GGaGaaGGaGaGG«G*G«a«G*aa 

aGaCGGGGGGaG#G«Q*a«G«aGG 

GGaaaGGGGGG-f.GaaaGGGaaGGG 

GGGGGaGGGasaGGGGGaGGaGGG 

aGiiaG«Ga«GGnGaGGGaGGaaaa 

a^GGSGG^GGGGGGaGaaGGGGGG 

♦IGGaGG^Ga-iiaGaGGGGGGaGaGQ 





THE WEAVING OF VARIOUS KINDS OF RIBS. 


39 


Weave No. 49 represents a diagonal rib, and a very good one for 
coatings. For an illustration of a herring-bone rib and a straight 
rib combined, see Plate No. 2, Weave 50, and Pick-out No. 6, which is 
a very pretty pattern. It may seem to some to be too large, there being 
120 threads in the pattern, but by using a warp of 2,000 ends, it would 
only show the pattern to be a little over \\ inches wide when fin¬ 
ished, which is not so large as a great many patterns of this style. 

Pickout No. 7, with weave, shows another very handsome fancy rib 
of 112 threads in the pattern, which should be made with all black yarn. 
It will be seen from the pickout that in each half of the pattern the ribs 
run at right angles from each other, and that the space between each 
is woven plain, which causes an odd but pretty appearing figure. 


Weave No. 52. 


□ 


12345678 


□*□*□*□* 


I 


Weave 52 is another one of the diagonal ribs, and a very peculiar 
weave it is ; the corner marked off is the full size of the weave, but I have 
repeated it four times in order to better show the pattern. It will be 
seen that every alternate thread in both the warp and filling is a 
backing thread, and that the warp and filling threads both weave in 
alike, so that it does not make any difference which wav the loom 
chain is turned, it will produce the same weave. 




40 


THE WEAVING OF VAllIOUS KINDS OF RIBS. 


« »□□□□□«□*□»□»□<«□ 7 

" □*****□□*□«□#□*□6 

I 5 □«***«□□□«**#!*□□ 4 

^ > *n*a*D*D*aaanD«D3 

^□*□*□*□**□□□□□««1 
Front. 


Pickout No. 8. 

n»44i»«nn»n«ni#inwG 

»□□□□□*»□*□*□*□* 

»□□□□□«□»□□□□□«□ 

»c#!G*n«na««*«»Ga 


□*□»□«□♦:»□□□□□*« 

»□□□□□*□*□□□□□*□ 
1-2 3 2 3 21456767654 


□□□□□□□□□«□«□#□□ 

□□□□□□□□«□□□□□«□ 

□□□□□□□«□□□□□□□« 

□□«□«□□□□□□□□□□□ 

□«□«□*□□□□□□□□□□ 


Drawing in Draft 


Pickout No. 8 shows another very odd and peculiar weave, which 
produces little small raised spots or ribs, and is calculated for worsteds 
or imitations of worsteds. A good rule for this pattern is as follows : 
Warp 2,000 ends of fine black worsted, drawn through a No. 14 reed 
with 4 threads in a dent ; filling same as warp, with 60 picks to the 
inch. Pickout No. 9, with weave, {Plate No. 3) is a good illustration 
of a nice large basket rib, of 64 threads in the pattern. 

Having already occupied several pages on the subject of ribs, it may 
be well to leave it for the present, for I have no doubt the reader will 
understand by this time the principle of this class of weaving, suffi¬ 
ciently to enable him to weave correctly not only the patterns laid down 
here, but also others of his own designing. 





MISCELLANEOUS WEAVES. 


41 


CHAPTER X. 


MISCELLANEOUS WEAVES. 


The few weaves following are some of the principal ones that have 
been excluded from the preceding Chai)ters, and as the most of them 
are of great importance in the manufacturing of different grades of 
woolen cloths, it would not be doing justice to the reader to omit 
them entirely from this work. 

Weave No. 55. 

13 3 4 5 

Weave No. 55 represents that of a common five-harness Doeskin, 
which is produced on nearly all cam looms, and is used to a great ex¬ 
tent in the production of fine cloths. 

Weave No. 58. 

«□□□ 

12 3 4 


Weave No. 56 represents that of double cloth, so called on 
account of its being capable of weaving two pieces of goods at the same 
time, one above the other. It is also used to a great extent in the pro¬ 
duction of very heavy weight goods. It is frequently used for weav¬ 
ing 6-4 blankets on | looms, as it produces the original flannel weave 
in both pieces, and weaves them together at each side, so that in the 
loom, or as it comes from the loom, the pieces present the appearance 
of a bottomless bag, and by cutting one side open, it gives you a double 
width blanket instead of single, as it has the appearance of being when 
weaving. 

Weave No. 57. 

**«□♦♦□* 

12345578 


42 


MISCELLANEOUS WEAVES. 


Weave No. 57 represents one kind of a Doeskin weave to be made 
on 8 harnesses, which is a very good one. For a handsome pattern made 
from this particular weave, see Fickout No. 10 on Plate No. 3, which 
will show the manner of dressing the warp, and is made of 5 run yarn 
for the single, and 8 run for the double and twist, twisted 16 turns to 
the inch, 2,160 ends in warp, drawn through a 15 reed, 4 threads in a 
dent, filling 5J run of the light drab, with 65 picks to the inch. It will 
be seen, from the drawing in draft, that the pattern forms a fancy her¬ 
ring-bone stripe. 

Weave No. 58. 

—^ 

!-» Mosi^a*o>-?3o» Oi-i.«oc<54^ 

Weave 58 represents what is called a Gatlin weave, as it is used in 
weaving a class of goods called the Gatlin stripes, which are heavy 
goods, and harnesses 1 and 2 weaving plain, it forms a crease, while 
the other 12 harnesses weave in every third thread of both warp and 
filling as a backing thread, which causes the cloth, when fulling, to 
draw this crease up so narrow that when finished it has the appear¬ 
ance of being cut with some sharp tool. 

Weave No. .59. 

1 2 3 4 5 6 7 8 

Weave No. 59 represents an 8-harness weave, used in making a 
class of goods that are called the Mansfield Beaver, and a good rule 
for making them is as follows : Warp 2280 ends of 4 run yarn ; draw 
into a No. 14 reed with 4 threads in a dent ; filling all fine shoddy of 
If run, with 48 picks to the inch. Weave white, and color in the 
piece a blue black. 

Weave No. 60. 

12345678 

Weave No. 60 is another weave used for the same class of goods 
as above. 


MISCELLANEOUS WEAVES. 


43 


Weave No. 61 

*□*□□□*□** 

1 2 3 4 5 6 7 8 y 10 

Weave No. 61 represents a weave used in the manufacturing of 
the goods called Bennington Beavers, and can be made similar to the 
Mansfield Beavers. 


Weave No. 62. 

123456789 10 


Weave No. 62 is another one for Benningtons, sometimes called the 
Bennington Twill. 


Weave No. 63. 

12345678 


Weave 63 represents the weave used in making a class of goods 
called Geneva goods. The weave is also called an 8-harness Doe¬ 
skin, and sometimes designated as buckskin, as it resembles very 
much the original Doeskin weave. 


IVcave No. 64. 
□□□□□□□« 

□«□□□□□□ 

»□□□□□□□ 

□□□□□*□□ 

1 2 3 1 6 6 7 8 


Weave No. 64 represents that of a heavy Fur Beaver, and is a 
good weave to work up lots of card waste and shoddy into the filling. 


44 


MISCELLANEOUS WEAVES. 


Weave No. 65. 

»□«□»□♦□ 

□«□*□♦□« 

1 2 3 4 5 6 7 8 

Weave No. 65 represents the weave used in making the class of 
goods called the Granite goods. It will be seen, upon close observa¬ 
tion at the weave, that the face filling threads weave in perfectly plain, 
while the backing threads are wove in in such a manner as to cause a 
fine diagonal crease. 


Weave No. 66. 

t-^lOOO -3CX)COO — io 


Weave No. 66 is for a heavy doeskin beaver, and a good rule for 
making the same is as follows : Warp 2,400 ends of 5 run yarn, drawn 
through a No. 12 reed, with 5 threads in each dent. Filling 5\ run 
for the face, and 1| run for the backing. Put in 80 picks to the inch, 
and color in the piece. 

The backing threads are to appear on the bolts of chain, marked 
B. The above rule makes a very good piece of goods. 


W’eave No. 67. 

123 45678 

Weave No. 67 represents the principal weave used in the manu¬ 
facturing of a fine grade of tricots, which are usually woven white, and 
colored in the piece a black, navy blue, blue black, or a dark seal 
brown. 


MISCELLANEOUS WEAVES. 


45 


For Weave 68, see Plate No. 4, which is a beautiful fancy twill, 
forming a diamond square, and is composed entirely from the four 
harness cassimere twill. It looks nice made in worsted or of common 
yarn. 

Weave No. 69 represents another nice pattern, formed from the 
same cassimere twill; of the two, this is the prettiest pattern when made 
up. 

Weave No. 70 represents a pattern of combined weaves, and forms 
little diamonds of double pick in the center of ea^h figure. 

Weave No. 71 represents another fancy square, diamond shape, 
composed of different size twills. 

All the above designs, which are on Ploie 4, are calculated to be 
for warps of one color, with filling the same, as they look far more 
tasteful than when dressed with several colors combined, although a 
warp of one color, with filling of another, looks quite pretty. 


Weave No ?2, 
#□□□ 

□□□« 

12 3 4 


Weave No. 72 represents a very useful little weave for making 
double and twist goods, when a small twill is desired to be shown. 
This makes a firm and durable piece of goods, as it will be seen that 
every alternate pick of filling acts as a backing thread, although it d^es 
not float under more than three threads at one time. 


W^eave No. 73. 

O5*.ioo too.-* 


Weave No. 73 is a very peculiar weave, there being 11 harnesses 
and 11 bolts of chain to form it, and when used on an all-double and 
twist warp, with all-single filling, it throws up a very full and even 
diagonal cord, that finishes up nicely. 


46 


MISCELLANEOUS WEAVES. 


Weave No. 74. 

JfG»ni#SC4G 

^o*n'*c'^n 

12345678 


Weave No. 74 represents a diagonal rib, sometimes called a diago¬ 
nal tricot,' on account of the furrows resembling those of a tricot. 
A good rule to make this is as follows : Warp 2100 (iinds of 4| run 
yarn, drawn into a No. 14 reed, with 4 threads in each dent, filling 
for face 4 run, and for backing 2 run ; put in 54 picks or over to the 
inch. 

Weave No. 75. 


»«cwn 

1 2 3 4 5 


«□ 

«□ 
□ * 
«□ 
□ * 
«□ 
□ « 
«□ 
□ « 
6 7 


Weave No. 75 is a good weave for weaving striped goods with a 
w arp of all one color. It may be seen that this is two weaves com¬ 
bined, which is a 5 harness twill and a two harness plain weave. A 
very good stripe is made from it thus : Warp 1200 ends of all black 
and white D. & T. to be 1| run when twisted ; draw into a No. 12 
reed ; warp drawn in thus : 15 threads on first 5 harnesses, and 2 on 
harnesses 6 and 7, &c. Then reed it thus : all the warp drawn on first 
5 harnesses to be reeded 3 threads in a dent, and all the warp drawn 
on harnesses 6 and 7 to be reeded 2 threads in a dent. This will 
make the warp little over 35 inches in the loom. Filling 2 run of all 
black yarn, whiah causes a black stripe to appear where the two 
threads are in a dent, which are wovGra, the plain weave with the 2 back 
harnesses, put in 36 to 40 picks to the inch. 

Various sized stripes can be made from the above weave, and as it 
does not require to have the warp striped, it becomes very useful in 
many instances, for the stripe will finish up about as perfect as though 
the warp was striped, and it looks fully as well. 



MISOELLAN'EOITS WEAVES. 


47 


Weave No. 76. 

1 2 

1*□♦♦♦♦♦♦♦♦♦* 3 

2 »□»♦♦♦♦♦♦'«♦« 4 

5 

2 6 

8»*□«♦»♦*♦♦♦♦ 7 

4 8 

3 *□*□*♦!♦»□♦*« 9 

3 10 

5 n 

6 *♦«□#♦«♦*«♦« 12 

4 »*□*□»«♦«□»* 13 

4 □**aa«#)ncsf ^G h 

7 15 

8 *#^«G««-f 16 

5 »«#iG*G»^^*a^ 17 

5 GG*«GG#«GG»#! 18 

9 19 

10 20 

6 21 

6 *GG^^nG‘^i«aG* 22 

11 «*^4*#G*4^4!« 23 

12 24 

7 23 

7 *#GG««GC^-«aa 26 

13 »♦.#♦.♦♦♦□♦♦«■♦ 27 

14 28 

8 *C(^^««G«G^^^ 29 

8 G««GG4!#aG*4iG 30 

15 31 

16 32 

9 **a**4i^G'«G^^ 33 
9 GG^-fiaG^^GG^# 34 

17 *i#^*««44>'#«G»4i 35 

18 ^♦♦♦#***4iG:#i4i 36 
10 *»*G««««C«G^ 37 

10 *aG#«Qa*#iaG« 38 

19 39 

20 !f 40 

11 *4«^G#«««D«G 41 

11 ♦*aa»*Gn'*»GG 42 

21 »«***«*4«#siiG 43 

22 44 

12 G*«««G##.^«G* 45 

12 G**GC«#iGaii»C 46 

23 47 

24 48 


Weave No. 76 represents a peculiar kind of a diagonal. It neither 
shows a twill nor a cord, but has a smooth and oven face, while at the 
same time there is a fine line or crease running biassed with the goods, 
which gives them a rich appearance. A good rule for using this 
weave is as follows : 

Warp 2500 ends of first quality yarn, spun 5| run, and reeded in a 
No. 10J reed, with 6 threads in each dent, which will make it about 
40 inches in the loom. Filling sj)un for the face threads 6 runs, and 
for backing 3| run, with 76 to 80 picks to the inch, which will make 
the goods come from the loom about 13 ozs. Weave white, and color 
in the piece a chrome black, and finish up a good high finish. It will 
make an uncommonly nice piece of goods for dress suits. 


48 


MISCELLANEOUS WEAVES. 


The above being such a peculiar weave, it may be well to show to 
the reader the manner of its construction, which, as will be seen, is from 
the arrangement of the bolts (or bars) of three separate weaves ; and 
to make the illustration more fully understood, we will number the 
bolts of the chain (commencing at the top) from 1 to 48 on the right 
hand side. 

Now we will take bolts numbered, 1, 5, 9, 13, 17, 21, 25, 29, 33, 37, 
41, and 45, and number them on the left hand side of the chain, from 
1 to 12 in rotation, and set them down on designing paper. We have 
the following weave No. 1, which, it will be seen, is a 12 harness 
diagonal cord. 


W^eave No. 1. 


8 9 

4 13 

5 17 

6 21 


g J 

9 33 

10 37 

i2 □*«««□*«**□* 45 

^ iUCJYC: CO ^ 


Now we will take the bolts numbered 2, 6, 10, 14, 18, 22, 26, 30, 34, 
38, 42, and 46, and number them from 1 to 12 in rotation, and set 
them down on the designing paper ; we have the following weave No. 
2, which is simply a 4 harness cassimere twill. 


Weave No. 2. 

I |nD»*nn6#«'^an*#! 2 

2|»Gn4!#CD»*nn‘#- .<s 
4ln^»^Difc«na*#D 14 

5 18 

6 22 
7 26 

8 30 

9 □G*«ac**aa«.# .34 

10 »Ga««aG*«aG^38 

II **GC**GG«»aG 42 

12 a**GD**aa*«G46 


Now in like manner take the remaining bolts, which are numbers 3 
4,-7, 8,-11,12,-15, 16,-19, 20,-23, 24,-27, 28,-31, 32,-35, 36,— 
39, 40,—43, 44, and 47, 48, and we have the weave No. 3, which, it will 
be seen, is a diagonal cord, but is not a practical weave to he used alone^ 
for every thread of warp floats over 22 threads of tilling, which is toe 


MISCELLANEOUS WEAVES. 


49 


Weave No. 3. 

3 7 

4 8 

5 n 

« 12 

7 15 

8 IK 

9 19 
10 ♦♦♦♦♦□**♦*♦♦ 20 

11 ♦♦♦♦♦»□»«♦♦« 23 

12 24 

13 27 

14 28 

15 31 

16 ♦♦♦♦**♦:«□*«» 32 

17 35 

18 36 

19 39 

20 ♦♦♦♦♦♦♦'«♦:«□♦' 40 

KD 44 


23 47 

24 48 

►-A 1-^ — 

•— >«i;CO »^C;»ai*^0D;0 0^tw» 

much of a float to be used warp-ways iu woolen w^eaviu" ; but it will 
be seen that this weave has two picks of filling in each shade, which is 
done to help form the crease in the original weave, and also to have a 
backing thread for every face thread in the goods, as this is the weave 
for the backing, while the Weaves No. 1 and 2 weave the face of the 
goods. 

Now, by taking every alternate bolt of this backing weave, which 
would be numbers 3, 7, 11, 15, 19, 23, 27, 31, 35, 39, 43, and 47, we 
have the Weave No. 4, which is such that it can be in many instances 

Weave No. 4. 


1 3 
3 7 
5 11 
7 15 
9 19 


11 


* 23 


13 27 

15 31 

17 35 

1939 
21 43 

23 47 

r-» J-* 

•-‘ist/CO O'— 

used by itself, but is the more appropriate to be used in connection 
with other weaves, as in the above case. 

It may be found by a close observation that many of the plain and 
fancy diagonals are composed in a similar manner as the preceding 
diagonal that has been here fully explained ; and it is hoped, from these 
explanations, that the reader may be able to take various twills and 
cords, and with them combine rnanv nice diagonals that may be of 
great use to him in the weaving of various beautiful patterns. 



50 


COMBINATION OF WEAVES. 


CHAPTEE XI. 

COMBINATION OF WEAVES 

The combining of weaves is one of the most important branches in 
the whole course of the fancy weaving department ; and, as it is some¬ 
what complicated, I siiall endeavor to show up a number of very nice 
designs, which, it will be seen, are composed of two or more weaves, 
some of which cannot be reduced to weave on the ordinary 24-harness 
looms, but none but what can be made on a 48-harness loom. I might 
occupy more space, and use up more time, in writing out explanations, 
and giving the rules for making cloth from every pick-out and weave 
published herein ; but, as it would add to the cost of the book, and 
believing that not one weaver or designer would ever use the weaves 
just as I would lay them down, it is unnecessary, as the pick-outs 
on every plate are laid out so plainly, and the figures at the bottom 
showing the manner they are reduced, and also the drawing in draft, that 
any person of ordinary intelligence who knows the principles of the 
loom, and understands anything about patterns, ought to be able to 
perceive the manner each pick-out is composed of the separate weaves, 
and to be able to take from them such parts as he wants, and com¬ 
bine the same with other weaves he may wish to use, and get 
them in a correct form, without any further details in writing them out. 

There will be found, on the different plates, pick-outs composed of 
various weaves, and no imaginary ones are inserted. They com¬ 
prise weaves with and without backings, some of which are very simple, 
and others of a somewhat complicated design. ^ There will also be seen 
some weaves that cannot be reduced, which will require a 48-harness 
loom to use them. Such weaves are simply shown to help the reader 
form new ideas, and be able therefrom to compose weaves of his own 
designing. Several of the largest and most complicated pick-outs 
shown on the plates are of late designs, of foreign make, and it is hoped 
that they may be appreciated, as they certainly show for themselves 
that they must have been produced by a master-hand in the art of 
fancy weaving. 


tables and rules. 


61 


CHAPTER XTI. 

TABLES AND RULES. 

Spinner’s Table, Showing the Number of Grains to 60 Yards of Yarn 



from 1 to 

Bum. 

Grains. 

1. 


H . 

. 175. 

14 . 

.145.83 

1 

^ ^ • • • * • 

.125. 

2 . 

. 109.375 

9i 

-^4 • .... 

. 97.22 

‘-‘2 . 

. 87.50 j 

2^ 

. 79.995 ! 

3 . 

. 72.915 

34 . 

. G7.305 

3^. 

. 62.50 

H . 


4 . 

. 54.685 ' 

d-i 

. 51.47 

H . 

. 48.61 

4^ 

^4. 

. 46.05 I 

5. 

. 43.75 

54 . 

.. 41.665 

••• 

. 39.75 

1 

ns 

. 

... 38.04 

6 . 

. 36.455 

64. 

. 35. 

6|. 

. 33.65 

6|. 

. 32.455 ■ 


12| Buns. 


Huns. 

Grains. 

7 .. 

. 31.25 

74 . 

. 30.17 

. 

. 29.165 

. 

.. 28.225 

8 .. 


8i. 

. 26.515 

84. 

. 25.735 

84. 

. 25. 

9 . 

. 24.305 

9i. 

. 23.645 


. 23.025 

9J. 22.435 


lOJ. 

. .. .. 21.34 

lOi. 

. . . 20 83 

10| . 

. 20.35 

11 . 

... 19.885 

114 . 

. 19.44 

Ill __ 

. 19.02 

114 . 

. 18.61 

12. 

.. 18.225 

124. _ 

.17.815 

*-■"4 

124 . 

. 17.50 

12 j. 

. 17.155 


Tliis table is very convenient for findin" the weight of double and 
twist, when two or more threads are twisted together ; for instance. 





















































rABLES AND RULES. 


•j£i 

suppose it is required to make a tliree-ply thread of twist from the fol- 
lowing threiids. Example : 

1 thread of 9 run, 24.805 grs. 

1 “ 11 “ 19.885 “ 

1 « 7 « 31.25 “ 


75.440 “ = 3 runs. 

By referring the sum 75.44 grains to the table, it will be found to 
compare the nearest to 3 runs ; but as this is making the yarn lighter 
than it figures, and it being subject to taking up more or less in the 
twisting, it will be near enough for pi-actice to call it 2| runs. For a 
more exact calculation, the table could be made out for ^ runs or 
runs. 


A Table of Relative Lenotiis of Worsted and Woolen Yarns. 


300 yds. Single Woolen Yarn.1 cut. 

1600 yds. “ “ “ 1 run. 

560 yds. “ Worsted “ 1 number. 


Gomparhon. 


28 Cut Yarn.8,400 single yds. to 1 lb. 

5J Run “ .8,400 “ “ “ 1 lb. 

No. 15 Worsted.8,400 “ “ “lib. 


One pound 2-ply 36’s worsted yarn contains 10,080 yards 


a 


cc 

40’s 

CC 

'< 

11,200 

Cf 

n 

i( 

<c 

45’s 

cc 

cc 

12,600 

cc 


(( 

(( 

50’s 

• u 

cc 

14,000 

cc 

i< 

a 

<c 

60’s 

a 

' • 

16,800 

CC 

it 

ct 

single 30’s 

cc 

ic 

20,160 

cc 

C( 

<( 

fi: 

45’s 

Ci 

cc 

25,200 

cc 

(t 

£< 

a 

50’s 

a 

cc 

28,000 

cc 

u 

Cl 

i€ 

OO’s 

cc 

cc 

33,600 

cc 


Or nearly 20 miles of thread I 


Rule for Ascertaining the Weight of Warp and Filling in a Sin¬ 
gle Yard of Flannel. 

Divide the number of ends in the warp by the number of run fine 
the warp is spun, and tae quotient is the number of ounces of warp 











TABLES AND RULES. 


53 


to the yard, by pointing off two figures at the right. Thus, for ex¬ 
ample, suppose you had a .warp of 2,100 ends of 5 run yarn, how 
many ounces are there ? Example : 

Runs I 2100 ends in warp 
5 I - 

j 

4.20 = 4-^ ozs. warp to the yard. 

How to find the w^eight of filling to a yard of flannel, multiply the 
number of filling threads in an inch by the number of inches the 
warp is laid out in the reed, and then proceed same as with warp 
Thus, for example, warp laid out in the reed 40 inches wide, with 55 
picks to the inch, how many ounces are there, supposing the filling is 
spun 5 run like warp ? 

Example. 

55 X 40 = 2200 -f- 5 == 4.40 or 4 2-5 ozs. of filling to the yard of 
flannel; now add the two sums together, and you have the weight of 
stock to a yard, warp 4.20 ozs. 

Filling 4.40 “ 

' Total 8.60 “ 

Now, in these calculations, there has been nothing said about sel¬ 
vage, and as the warp takes up more or less in weaving, it is well to 
calculate from \ ounce to an ounce and a half, according to the amount 
of selvage used and the kind of weave employed in the weaving of the 
goods. 


How’ TO Make a Yarn Table for 50 Yards, or Any Other Number. 

Take 1,600 yards of one run yarn, and it will weigh one pound, 
(Avoirdupois) or 7,000 grains, and divide it by 50 (or any number of 
yards you wish for a weighing). Then divide 7,000 by the above 
quotient, and the quotient obtained will Be the number of grains in 50 
yards of one run yarn. • / 

Thus, 1,600 50 = 32. 

7,000 —f- 32 = 218.75 grains. 

Then take the 218.75 grains for a dividend, and the weight of a 
weio-hing for a divisor, and the quotient will be the number of runs. 

'Ihus, for example, supposing the weighing weighs 35 grains, 
218.75 35 = 6.25 runs, or, 6J runs. 

The above table is to facilitate finding the weights of yarn, where 
you have no printed weights or tables to refer to. 





For the Manufacturer and Operative. 


T E 


Manufacturers’ Review 


AND 


INDUSTHIu^L RECORD, 

ESTABLISHED 1868. 

Tenth Year^ Volume XI. 

The Oldest Journal of its kind in the English Language, 

AND 

THE ONLY TEOHNIOAL PUBLICATION IN AMERICA 

FOR 

^EXTILE yVl ANUF ACTUR ERS, 

Dyers, Carders, Weavers, Designers, Spinners and Finishers, 

PUBLISHED MONTHLY, 

Aud devoted to the Technologj'^ of Textile Arts and Dyeing in all their branches. 

Price, - $1.50 per Year. 


THE SU P P L EMES 1\ 

Published about the 15th of each month, contains, in each Number, 15 new drafts 
for Cassimeres, Coatings, Over-coatings, etc., with full working directions and drafts 
of chains. Also from 12 to 20 approved dyeing recipes, illustrated by Dyed 
S a'tuples on coiion, wool and silk. Price^ $3.50 per Year, 




THE RECORD AND SUPPLEMENT 

Toyelher, $5.00 per Year. 

They are worth many times their cost, and should be taken aud read by everj" 
mill-owner, and by every employee who desires to attain proficiency in his work. 

Address PETERS & RICHARDS, Publishet's, 

55 Reade Street, 

P. O. Box 1396. -- NEW YORK. 

-WE A.C3-E3SrXS FOK, THE 

PATTERNS OF A. LEHMAN, Paris, 

Whose warehouse is celebrated for its styles of 

Cassimeres and Suitings, Prints and Ginghams, Silks, Dress Goods, etc- 

Manufacturers will find great advantage from using these patterns. Samples can 
be seen at our office, and full particulars can be obtained by application to iis. 


Wi: ARE ALSO AGENTS EOR 

THE TEXTILE MANUFACTURER, 

OF MANCHESTER, ENGLAND. 

We have on hand, at all times, DESIGNING PAPER of all styles, at retail, or 
in ream lots. 

<Sc EICHA-EES, 

55 Reade Street, 


P. O. Box 181M). 


NEW YORK. 













NOTICE. 


For tlie benefit of those requiring Samples Dissected, 
I have published the following 

PRICE LIST. 

For ordinary samples, requiring— 

From 4 to 48 bars of chain, $1.00 each. 


a 

48 “ 60 

i i 

k k 

( k 

1.50 


(( 

60 “ 72 


( ( 

k k 

2.00 


u 

72 “ 84 


( ( 

k k 

2.60 

( i 

w i> 

84 06 

k i 

( ( 

k k 

3.00 

u 


And for each additional bar thereafter, Three Cents, 

All samples sent to me for the Weaves and Drafts, and 
instructions for making the same, will be promptly attend¬ 
ed to, and returned at the earliest possible time. 

A. A. BALDWIN, 

Brasher Falls, 


ST. LAWRENCE CO., N. Y. 









V -a * ' 

fi.' < 't ' 

; /i-j* f r 


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222^,^f d22S**^“'nD‘^^^' 'Hg 44 *n-’n444ncG4*4nnn*4*GHa444nGn*4*nhR444RRp4»2!! 

¥^^',2BQ*^f‘2GG44*nrj! '444-n'~i4*4nrin444nGG*44nnri444nGP444Gn*444GGGy*4nnn444npn 

-544Gnr!*a*4*nGG444nr;in444nGn444dn|I^HHyc|:yRgfJ^SRy : 


□4*'4Gar;444nnn444' 
□□444GGG444: jr;i 1444' 


'444[ji 

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□□□444' □□444'Gr iL'444nnn444pn. jaa 
4GGG444 iLlt '444GaG444gGg44iGL ’444 


a **GDG ***Gul i***GLjiji444hnn«n **a. 

> □□***aDn***GDn4**Gnni4**a*nnn4 

< □444GaD444GGn44«GDn444nG4ynrr 

J 44*GGC*4*aGG*44GGG444ndr;44yGh 

- 44GGri4:44GGG4:44GGr444:.5GGyC44yr 


4nGb4:«Rp^*2gn^***nnG444GGr;444n4GnGy4GG44yG4GnG44" 

rGG-.. ...Tlaini 444GGn4;44GGD*4*Gbn*44 1 


_«GI_iG*44'nGn444GnG44*Gn 
3n4Gn''444nn! 444'gin444... 
i g»4[:;rG3444GGr^444GGL '444 

!*DG***nnn44*["Dn44*G 


^ ^ —I G_J I—I ▼, ^r. ^rl !__J'. ' ^r5 ^rl ^r!.. J!_i 

S 4uUG444jGq44*GgG444GGG 


_iGG444^GG444GGG444JgG444GG[ 


44bG444 n*GCG44*nDG4*4G 

'44GGG44 *GnG*4*GGG«*4GG 


'4 

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►.ULj:.]*4Drj444n4Pnn44GG*44G 


j:] 4G444G' "44'-pn4n444nn B 


*G44*GGn44*GGn444GGG*4*GG44GGG4n444GG4#Gnn4 o 

□♦♦*GGG4,44GGG44*;_jLjG*44GGG444nGG*44GGn444njnn '3- 
P!*^PG_n4*4GnG*44GGG44*GGG4G*4*nG*4GGG4hd44nR 50 

**4’. 


lL4**GGG**4uGG*44GGG4**bGG444 


Front T2 Bolts of Chain. 


□□*□□□ 

□«□□□□ 

4GDGGG 

□□□□□* 

□□□□*□ 

□□□*□□ 

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C4GGDn 

4GnGGG 

ncnG4G 

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□.Gnn4G 

□□□4GC 

GG4GOG 

G4GGGD 

4GCGGG 

□□□r4G 

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4: *■,□□□□ 

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CG4- :■: p £ 

□ GG*PC ~ 

□ □□C 4 n =■ 
□□□□□4 = 
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□#□□□□ 

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i '44'..'i.. 4G4_4_'4._4'_.4 Ji.'444444444' ■ir4^“4r4'~'4r 4 , > 

4*' 4*GG4L,i*G*G4G*G4GG444444444riG4n4L 4' 4i 

iR*4*G4*G':i*C4G4i-J*L4G4Gn4444444yynn4b*r 4 
^S2f*t2lt^'^^'^'-»''^2*^‘*^*aG*444444yy*n4 '4 
□□*4 uj 444. 4*IRL:*i ■4p*L'4G4G4GG444444444d]r‘4, 
□*□□**R444G44nG*n«G»G*G*C*GI 4444444441 

G*. l♦uU44^J44*□**G□*L'4G4□*G*□4JLJ444444444 
□*G*D*Gn**G44*n4*GU*G4u4G4G4-yG^44444444 
□«G*G*G*Lin*4G444t.,44cjr *n4C4^4'‘‘^4’-14* 444444 

□ *G*G4G*i. i*GG*4'. -:444L,'44Gr;4 14 l,*G* -T J4GG4444 
□«G*G4.j 4 G*G*GG**L44*r-44i ' L.XhXr 4G4C 4 l 4 44 

*Gg*G4:U*G*G*G*G[]44: i444G44*‘ !*G4b4G414L-'4 
444LjG*G*G*G4i 4G*UC 4*i-444 !44Gr*G4G4 i4'_j4“'4l 

-tffi^2n*Q^a*L*G*G*nL,'*4*444*yy*G*r4n*G4-4 

♦ ♦♦♦♦♦♦Gn4~4G4G4.G4" 4 T 44 444' 44Pr X'^'X'^Xiil 

4**«4444*GG*C4n4G4u4u*nr4XnXyX*44*bXG*G4 

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bif Rd^*ii'i**^**'^--'*^*n*G*G*G*Gr i*4Li4:44'l4*nn4 

□*g*G* -.4GU44444444*nn*G4r !4G*n4u4jL 44' J444 
g*u*G4U.*U*'GU*44444444LiLj4G4u4G4G4' ‘ 4Gi 144 J4 
□4G*U*U* l*.J*JU444444444riG4G*G4 14'J4G4,JuyX 

Front—48 Bolla of (thain. 


i5*G44*G4 

□□*414*4 

□4in44''4 
□'4^.4'-'ii -44 
□4u4. 41 ‘ir 
□4'-4l;,4 4 
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□41,4'--'*114 

□ 4: i4L;.4L.4 
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44_JL.4' 4 
44 144L.. ,4 
444 44 


24 

23 

22 

21 

20 

III 

18 

17 

16 

ir, 

14 

13 

12 

11 

10 

9 

8 


4 Gg*U 4 p 444 a 4 C 4 DC 44444444 
' '4*GG*u*.n444r4G4,_"- 4444 X 4 
♦♦g**gG*^ 4 n 444 4 G 4 **XXXX 

^♦♦♦-J*4i-'“4_.4-444n4 4 1144 
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♦♦ 444 44 4^4 4444 4 

4 44 .444 44 ’ 4 4 X 4 X X 

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4 i**^* 4 44 444 44' : 4 

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444 4G4**4X XyX 

4444444 44 ^—.^ 4 nn 44 

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g4 4 j444 ;4 4gL 444444444 

Front—24 Bolts of Chain. 


n22nRlFt?^t^t_^Bl=44444444 24 

21*22* 1^ f *♦ ♦ * .35-^ 444444 23 

*121*^...* * ♦♦♦■' ♦□♦□□♦444 22 
♦♦♦ ♦♦ 4 4C444“4-4nn44 21 

44 444 44 4 4 444 4 4 ' 2t) 

□d**g*** 44 4.4 X 4 X X 419 

4_lj44i 444 44 4' 4 444 4 >8 

il2fB2 ** ♦♦♦ ♦♦□^XgX 44 X 17 

*121-1 -Xie 

♦♦♦ ♦ ♦ 44.444 144 ~4 4 16 

R1 l*lal 1 ♦♦ ♦♦♦L44* 414 

2* ll-'l*lil-*- ♦♦□-♦♦4' 44. 13 
4 g4, 4 444' 4^4 jl 44 444 4*2 
444 'I 4_4 444G4 4 . 44 44 X 11 
44444 "4.4 - 44 X-X 4**4X*X l" 

*44444444 4G4 444C4“4 G 8 

□g444444444jr4_XGX4X X 4 T 
□♦□d*******44 jC*G4G444..4 8 
iC4 4 J'n444444444-r4~4G444 ^ 

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, ♦ ♦ J**4444444JL 4 2 

□4 4 444 4 4 .G444444444G 1 

h'rout—24 Boita of Chain. 




























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♦♦ ♦♦ 4 4 44 44 1-44 44 44 44 44 44 ' ♦H 

4 44 4 44 ’44 44 J4 44 4 44 44 44 44 ! 

■-4 44 44 44 44 44 '44 j44 44 4# 44.. 44 »4 41 




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4 4444 444444 4444 44444 
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♦4 ♦♦♦♦ 444444 4444 4444 
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♦^♦♦♦♦44 4444 444444 444 
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♦♦^♦♦♦♦♦4 ♦♦♦♦ 444444 44 
♦♦♦ 4 4 ♦ 4^ 

♦♦♦ ♦♦♦♦♦t ♦♦♦♦ 444444 4 
♦♦♦♦ 4 4 4 4 

♦♦♦♦ ♦♦♦♦♦g ♦♦♦♦ 444444 

♦♦♦♦♦ .444 

♦♦♦♦^♦♦♦♦♦4 4444 444444 

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♦ ♦♦♦♦^♦♦♦♦♦4 4444 44444 

44444 444 

♦4 4444' 444444 4444 4444 
♦4444 444 

♦♦♦ ♦♦♦♦ ♦♦4444 4444 444 
44444 4^4 

♦♦♦♦ ♦♦♦♦ 444444 4444 44 

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♦♦♦♦♦ ♦♦♦♦ 444444 44< 
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ce 


I I’ICKOUT No. 


iilig38sffl§iiiiii§a§§§iiiii§iSsig|siii3gsgs5iliiisiiig2g2 


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i3S|SSg|5S5«o*3«D»o*3iS5S«a»aS3SaS3«3«gi5*g»o*s«Bsa»fliG*a*o*g«n*s*aga.a*3soga*e»agaigga*o*Mg«e«g*MG*B«a|v«^ 
iaiSi|SiiSegS|gS§|i|i|i|S|SgiggS2|if2|2|idg2gggg*|*|2|2Sog2nq-*GoS*GGG*GGG»GgG*GGGJDGG*aGD«aGG»OGG*GGG*GgG^GGO 

.^JaavGaa^ncn-ftnaasaaG^nna^GanienDa^Gna 
__j.^,,...^...,^*^^^..u_,^..,^,...,w_,.„-.^^,.^Gn#'Gnn#)Gac'#iGna‘*aDG*iGDD^gaa!*nan*Gan*GC 

nS«««##«n*Ga**'jaD*««««*«n*ann«Gacj»««««*«G*nna«aDa««*»^w«n«aan«Ljna*am4iGDD«GGn*GaD«aaD»!aGa!*aaG«GaG»Jan*nnL3#L:iCG^ai-. 

1 2 3 4 3* 8 4‘1* 5 6 1 2 5 6 1* 3 4 3 4 3 4 1* 5 3 1 2 5 6 1 2 3 4 3 4 3 4 1 2 6 1 2 5 6 1 2 3 4 3 4 3 4 I 2 7 8 « 10 7 8 1 2 7 8 9 10 7 8 1 2 7 8 9 10 T 8 1 2 7 8 9 10 7 8 1 2 7 8 9 10 7 8 1 2 7 8 9 10 7 8 1 2 7 8 9 10 7 8 



? DWii-liiDi*!##□«□□□□□□ 
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= «□«□*□«□»□«□*□«□ 
^ Front. 


lonnnnnnnnnnnnnnnDannDnaDnaGDaDnnannGDnnaGGaaDnnDGDGDaaanaaannDwnnnamD^GanDaaG^GDaaDDnwaDaGnpg^uDaaDDC^DaaDnnc^na 

"□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□nnarinDCDDaanaaaanGnaGanG«rjannaaG«ananmn«GaaanDa«GGnGDDG«nDnaDaD»unaGaaa«Gm 

iMHHMkMNMHHHHHHnnnnnnnnnnnnrinnnnnnrjnnnnanaaaanDnnnannaaDGnDD*iDnD*aaG#iGan»nan«Dan!<iiDnG*Gna*ngnifngp*gng^gGD*ggQ#Dggi 


^□□□□□“□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□□GGGD«SnG*nGGWGGG»Gbn«GGn*GGG*GGG*nGn*mGWGnG»GGG*GGD#dDa» 

7nnnnnGnGGGGnGGGGnaGGGGGGGGGDGGGGGGGGGGOGGGGGaaGGL.lGGai:iGaf:iGG«GGGWGaG-|iimG!*GaD*GGn*aGG»!Ggg*Gpn«GQG»GDG»GaG5GGa4gGG*G 

„ pyyMyyyHpyHypPP™PPPPPHGrnHMnkfcnnni»nnnnnnnnrinni4innn«nnnnnnnnnnnnr:nnnnrinnnnnn 


6 nnnnnnnnnGS^ggD»GDGGQGGGDGG*!GGG*GGGDDUGUUUU»!UUU«nLIUUUUUUUUUUUUUUUUUUUUUUUULlUUULJnDGDDGGaGDGGnGn^iDnaGG.jgOGGGGGupGGG 
snnnnnHnnnnyaGG^aGGaGaaDGca^aGGsiiaaaGaaaGGGGsfcGGGSGaGGnanGGaaGGaQaGGaGGGGaGGGacGaGGaGaaGGGnnaGGaGGGgDaGuGanDaqGpGGa 
4nnn«n«nl4lnnnnnnnnGGG*ci»GwaaaaaGaGGaG«g*g*gggGgGgGGgg«g«g«gggGgGGGgGgcgGggGGgggGggggggGgaggnGGggngGGgGGgGggGGgGGgG 



naBnnnnnnnainnnwni in*nnnnnnD#DDawDGu»uauuLJUiJ*LJUU*Liau*tjLjLJUUUUU*LJLjUUiJUUi#!UUU jLJUuvtuuuuLJuuwuuuuuuuiwuuuLjuuuviuLjyuuuL 

r I I \ _ n 110 w A ^ ^ Awr\ 


The DrawiiiE; in Draft.—112 threads in the pattern 


PIC'KOUT No. 6. 

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p||||§|||||B§g||||||||SS||**O*O» 0 » 0 *D*aj»«a«U«G*GJ|* 0 *G«G* 0 * 0 JG|GJG*G|G*G*G*G»G*G« 0 »G*G« 0 JD;O.G*GJGJG* 0 J^ 


B— 


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Straight Draft. 48 harness weave. 




PICKOl'T No. 0 . 

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Front.—64 Bolts of Chain. 


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13QGaGGQCaGGGGGGaGGGQGGGGGGGaGaaGGaGaDGnaGGGGaGGnaa4GGGannR*nHR»nR 
ifGGGGnGGGGGaaGGGaaGananGGGaGaaGGGGGGGGnGGaGGaGGGGGGHRGGaaGnnnRnnR 
n□□□□□□□□GGGaGaGGGGGaGaGGGGG«GGGaGaGGGGGGnDGGaGGGGGGGGGGnndGGGGHn 
lOGGGqGGGGGGGGnGnGGCaGnaanGGaGGnaGGGGGGGGGGGGCGGGGnaGGGaacnnGndnnH 
SGGGGGGGGGQGGacGnGaGGaaGGaaGGaaGnaaGGGGCGGGaGGGGGGGnannnHnnnHnnnn 
8GGGGgnGaGGGGGGa»nGGCGaG*GaGGGGGaGGGGDUGaGGGGGGC»GGGGGGa«GCCnnnpS 
7 QOGGGnaGGGGGGGaGCGGGGGGGGGGGGGGGQQGGGGaQGGGGQQaGGGGGGDQGGGGGGnnn 
6GGGGGaGCGggGg«GGgaGananGGGGGGGGGGmGnaGGaGGGG«GGGGGGGaGdGGaGGGCn 

5 qqDnaGGDGGGGaGrjGUGGGnaGGGGGOGGGGGGanaGGaGGGGaLBGaGGGGDGGGGGGGGGGn 
4GGnaGGGnGGa»GaGnGaGnaGGGGaGaGGGDGGaaaGGQGna*GrjGGaGGGGGaaaaaadHnn 
3GG«GGGGGGG«GGGaGGGGDGGGGGGnGGaGGaG«GGnGGGa«aGaaCGGaaGGGGGGGaGHHn 
2G»GGGGnGG«GGGGGannaGGaaGaGGGGGGGG«JGGGnnGaGGGGGGGGGGGGGGGGGdGGGn 

l*GGGaGGG*GGGGCGG«GGGGGGG*aGGGGGCaGCGGGGa«GGGGGaG*GUGGGGGyGnGGGGG 

The Drawing in Draft. -64 Threads in Pattern. 


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♦□*an*a»ac*«n*«*a«a#«««D*aa«G#««aca«Ga««*G4««««D 
aa^aaauaaGaaaaaaaaaaaGaaaaGwaaGaaGaaaaGawDaaaGaa 
picKouT No. 10. aaaa««D4a»*G»aDaGa«a*D««aaa*«an««aaD*aGa«««G#G«» 
□aaaaaaaGaaGaaaaDaaDaaaanaaDafiaaGaaGaaaaDaaGaaaa 
□aaaaGaaGaaaaGaaaaaaaanaaamaaaaaGaaaaGaaGaaaaaGa 
»aD»aa«a«»n»«n»»aaaa««Daaa«a*a«*«*G»»aaa««G*«*n* 
aanaaaaDaaDaaaaaaaaaDaaaaGaaaaaGaaGaaaaGaaaaGaaa 

1234567812345678432187654.3 2156781234567812348765 


Filling. 
Light Drab. 


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□«#*««*□ 8 □□□□□□□asnDnDDDa*annDi«GDanDanDDnsiDGnGnaG!«aDDG«ann 
^ifiaa**** 7 □□□□□□«□□□□□□□«□□□□□□♦□□□□□□□□*□□□□□□□»□□□□□□*□□ 
**«»*□□« 6 □□□□□*□□□□□□□*□□□□□□□□«□□□□□□*□□□□□□□*□□□□□□□□*□ 
□U*««4«* 5 □□□□SGGGGGGOWiGGGGaGGGGGSGGGGHiiGGGGaGGiiGGnDGGGGCG* 
a>»«GG*41« 4 □□□«OOGGGGn«GGGO*DGDGGGrj«GGDGGGGnGD*GGGGGGG«GGnG 
>«4*«'«*nn 3 nDt*!aDnnDDn*DanaaDSfiaaDaaaaieaDnaaDGD*GGDGaGa*aGGaG 
*na*«*** 2 a<«aaaaDaa*a!ziaaanaowaaaaDna*aaaaaD*aaaaaani«nDnDnD 
w««<«)wootw'« V j»aaar-ippp.wir-ippinpinnaaai«nnnaaaaMjciQanaia nnrjianpii#!aaaanpin 


M^EAVE No. 67. 

□««GnGliGGGG*«*«Gl!GGGG*«**G«i!«GG* 
Si«GGG«aGGG«««4GG*«nGGC*4««G«««GG 
ii!iGGG«GGGG»4«#GGWGI*«GGGG«444G«4«G 
□□□#iGGGG44«4iGG*«GG««GnaG4i*44G«#4 
□□*aDGGa4i«4GG»4G»nG»i#GGaG44,44G*« 
□»lGGGG«*«*aG!4«GG#i*Gni«4GGGG««4i4C« 
w*GnGC!«!*4i«GG#4iGGG*4*GG44GGGG««««G 
3 □□□□«««4iGiG»4iGGC»GI«41IGG*«GaGD«*4« 

S □□□4i4«*GG!«4nGG4iD4G«4«GG««nGGGlii4« 

■ □□444i*iGGSi4GGn*iGn««G«*'«GG*«naaD*4 

□»**«nG*4GnG»iGaG»4«G«4«aG4*naaa« 
l«*4i«aG4i«DGn«GGnG«44i«G«««GG«4iGaan 
4l4«GG*4iaDG«GGGG4iG*«44iQ«44inn««ann 
**GG««naG«GaGG»«GD«««4G«««aG*i«an 
4iGn4i4GGG‘«GaGG»i4i4nGG«4«#G4««GG«41G 
□ □!«4GaG*GDGG«#i»«aDaD44««G*«*GG«* 

Straight Draft. 32 Harness Weave. . 















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l♦!♦^[‘JH► t □□□□□□□□□□□□□□«□□ 

fii □□sftDCDrDnaaaanuaD 

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♦- r^^DD^Dsfe^DQ^^na ^ □□csaaDDcaancaDDD 

yy^fyy*£t?;°2t*'y'^*^DD»**cr4ici##DD*# ei □□□□*□□□□□□□□□□□□ 
♦□□♦♦□□♦♦□L'**iuu**DD»i*GDi#<i«nn^*Dn* g □□□□□rjD:!nDnaDD4nD: 
?f5y?2*$:y2t*'°'^'**‘-"-'*!4C)C44n[ iftn^-fangi □□□□□♦,□□□□□□□□□□c 
p*4GD4*gC44Da4*iDD4!4ar'44GC44nC4#D i GGnGGGGuGCnDGGGGI* 
□ G!4C.f ♦GGf 4GG4*Gr»4GG!*»GG4«GC4D4.» u □□□CGGHftGGGGGGGGDG 

♦♦^C*.*aG!#.4GG44DG4 r □GGGGGGGDGaaaGifinG 
f yCt^l^y^^O^^^aC^AGr^^GraG oi □□□GGDDffiGGGGGOGGn 
C4*GG44Gn44GC44GG44GG44aG44GG44Gi□GCGGCGGnaGGGnGnii 
♦*uL.44Dr;!*4GC44GG44CD4#GC44GC4»GG B 
♦GG44Gn44D044GG 44GG4#Gn44aG44DC» 8 


4«n4gD44GL4»GG«4GG4*GG4»GC44G4GG 6 
C#4GG.44GG44-:[r44GG4*GD44cn4*GC44n i 
□□♦♦L 4uG44GG44Gr44Gn4«DD4*«u4GG4» « 
#GG44Ga4#GC44Gt 44GC#4DD#4GLJ44GC4 r 
*«aG44iG4GG44CC44GG*4GG44G4ab44GGi 

L44 C44GC44G:'44Jr44_!r44GC ♦♦■'IL ♦♦ "I i 
r.C44GC#4G4GC44GG4i«GG«4G4ni:44iGG44 9 
#CC44GG44aG44GG44GG#4GG44LJi-44GC4 8 

»4nG*4GG44 41□♦4uG44D4GG44Dr44nb s 

C44nr:44GL 44GG44GC44UC44GG44nC44G I 
GC44GD44Gp44G4yn44i 4aG44aG44GC 44 S’ 
4GG44CG44LJG44GL.44GG44Ga44GL44G04 g 
44G;_44GL 44GG44 g 4,_4G( 44GG44-: 44UG f. 
L44QL44GG44GL44GG44G_44Ga44uG44aI 

Front. 


□□□aaGGGGGnGcnG4n 
□ □□CGGGGnOL: □□a4GG 
□□□□aGGG4GCGGGaaG 
nGGGaDGnaGGGGiGG[:4 
□□□□caGGG4aGGDnGa 
aGGnGanGnGGaaG4ca 
nQGGGaGaG04nGGGGG 
GGaaGGQnGGGnGoac4 
□aGGGaaGGCC»GGGGa 
□□caGGGGaGGocn4Gn 
CGDGGCGGGGGG4GGGG 
aGaGGaGGnanGGGaG4 
aaDGGGGGGaaaG4G:GQ 
□□□□aaGGDGGGDG4Gn 
□nOGGGGnaGGGGGL':4G 
□aaGGGQaGGaGGGaG4 




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4G4a4n4nG4C4G4«aG 

4:j4G4C44a4G4G*aD4 

□4G4G4Ga4G4a4GG4» 

G14G4G44GGG4G4G44G 

4D4G4UG444G4G44Ga 

4G4n44G44GG4G4nn4 

G4G4Ga4GG44C4GG44 

□4G44G4(.jC4GC4G44a 

4C4GG4G44G44G44GG 

4G44n4G44G4aG4GD4 

□4GG4G4GG4G44GQ44 
C44n4G4GD4G4GG44G ~ 

4GG4G4G44G4C444GG S 
44a4G4a44G4G4GGG4" 

□n4a4G4GG4G4G4a44 “S 
4D4G4G4GG4G4G44GG „ 
G4G4;G4G44..4G4G4«Gi? 
44n4G4G.44G4G4GGa4 a 
aG4G»G4GG4G«G4G44 Z 
a44G4;j4GG4G4.Gn44a 7 
4Gn4n4G44'G4G444Gn i 
4G44rJ4G44G4GG4Cn4 c 
G4GG4G4GG«G44Gn44 
□ 4G44a4aG4Gn4G44G ^ 
4G4: ]G4a44G44G44Gn 
4n4G44G44GG4G4Ga4 
□4G4nG4GG44G4Gn44 
G4G4U44GGG4G4G44G 
4G4G4GG444G4G44GG 
4G4C4G44G4G4G4GG4 
G4G4lj4GG4G4G»GG44 
G4G4G4G44D4G4G44G 


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CDG4G44GG444GGG4GGC444GC44C4GGC4S 
CC4G44GC444GGC4G4GDG444DC44LJ4GDG8 
C4G44Ga444Dan«GGG4GGG444GG44G4GG t- 
4G44GC44*GGG444aGG4GGC444nG44G»GS 
C44aG444GGG4G444naG4aGG444GG4«D*? 
44GG*44GnG4GaG444GGG«GGG444GG*4gi 


CGQGGGGQGGGGGQGSG 
□□□□□□□□□aGGQD4aG 
□□□□□□□GaGCGD4GGn 
□□□□□□□CGGGG4QGGG 
GGGGGGGGGl IGSaGGCn 
□□□□□□□nGn4GGQam 
□□□□□nnGG4GDGGGGG 


4GC444DDG«4«aGG«44nGG40GG444GGI44f_ _ 

□C444GnG4G444GDG444nGa4GGG44*GG* ® □□□□□□□□*□□□□□□□□ 
C444GnC44«G444GDG44«GaG«GDG4«4GG "{ □□□□□□□*□□□□□□□□□ 
444aDG«G44«G444aaG444aDC4DDG4*»G “ □□□□□□4GnGGaDGGGG 
4«GDC444D44«G»44GGG«44GDD4agG444 pi □□□□□»□□□□□□□□□□□ 
4GaG4G444G444n*4«GDG44«GGG4LiDG44 □□□□*□□□□□□□□□□□□ 
□□G4GnG444G44«G*44[ lGG444GnC4aDG4 □□□4GGDGDGGGaGDGa 
□□444GaG*44G444rj«4«GDG44«GnG*aGG □□4DaaDGDGGaCGGDG 
□4G444DpG44fG444G44^DaG4.44inDG4GG □*□□□□□□□□□□□□□□□ 


0£QQ U!«LJLJLJLJL.ILJL_H_ILJLJLJLJ!-JIJ1_1 

!□□*□ II «□□□□□□□□□□□□□□□□ 


®DGGllinGG?l¥G44^ iZI#¥SnLj7Iil5w»1LJLJ[_:C*JLJ 41 »ljl.il_jljl.ilji_jljljljljljljljljlj 

□4DGG44*GDG*«*G»!4*G4t«*GGG*#*G*QG 91 u4aaGDGGGDGnGGnnn 
□ □*GaC444GaC44:«G»4«n«4«naD4«4iDaG 81 □□4aGDGDGGGGGGGDG 
□□□*GDG444aaD44*ij«44G4#4DaG«DGG* H aaG*gaGanaaaaQaaa 
4GGG4GaG*44Gaa*4*a444G444C*aGC44 81 GGGGSGDGaGGaGaGGG 
l4GaQ4GGci4«GCC4«»a*4*u«44GGG««4 gi aaaGGsgaggggagaaa 
4«4aGD«GaG44*GGG*4«G*4«G*GGg»*4a ii GCGaGj^pKugggqgaggg 
G444aGG»OGG44*aGG«««G44«Gaa»4«Gn 01 GaGGGaqsgqqGGQqqq 
GG444aQD*aGa*4*GG04«4G4iGGa44«UG* 6 GGGGGGGGtSGGGaGGaa 
4aG444GGG4Gaa*44GGa»«§iGaa444,GG»4 8 
4#aa44*GGa4aaa444GGG*GGG44«Ga4«Gi 
□*4aG44*GQG4GaQ*4«G*Gaa44 •iaG4«GSi 9 
4a44G044«GGa*GGa«««aaG«44aC44a»GQ 
□#C*4aa444GGa*nGGi4GGC*4«aG*4G«gG^ 
GC4G4«nG»44GGa«C»GGG«44aG«4G«Gage 
aGa4a4«GG44«GaG*aaG*«4aG44G*GGG4g 
4GDC4G4«aG444aaaGa**4aC44C4GGG44; 


GGGGGGGGGWGGGGGGG 

GGGGGGGGGD4GGGGGG 

GGGGGGGGGGGBGGGGG 

GGGGGaaGGGGaffiGGGG 

GGGGGaaaGGGOc*aGa 

GGaaaGGGGGaGGaSGG 

GGGGGGGaGGaaGGQfia 

aGGGGnaaGGGGGGGG* 


Front. 


C'-'Xlin -^ecOf—o o>cot'» eo a ^ 


Drawing in Draft.—32 Threads in Pattern. 


PIC'KOUT No. 12. 


D4*GQ44aC44aG44nn44aG44G044GC44a2 
: :44aa444G44GC44 :nGG-j44GG.j44Gn44a 3 
4aa4GG444Ga44aG44GG44GG44Ga44GD4 ■* 
4GQ4«Ga»44G44GG44G44Ga44GGQ44GC45 
□4Ga44GG444UG44GG44GG44GG«4aG44a « 
C44GG44GC44a444Q44GQ44Gn4«GGa44G7 
UG44GG44Ga444GG44JG44Ga44Ga44aC48 
4GC44GQ44nG44Ga4Gn44GG44GG444GC4 9 
44Gu44Gu44uGG44'.':G44.-.G44L:r44.JG44i; lu 
□44GG44GG44GG44Gn4GG44GG444Gn44G H 
4G44GG44GnG44Ga44GD44GG444G44GG4 
4aG44GG44GG44Ga44aG4GC444aC44GG4 13 
G44G44GGa44CG44GC44GQ444G44Ga44J 14 
G44an44GG44GG44Gn44GG44GG44GD44G 15 
4GG44GG44GG44GG44 : □44GG44.JD44GC4 1 
4GG44GG44GG44GG44GG:44GQ44Ga44GC4 1 
□44aC44L!G.44:jG44GG44GG44GC44GG44G 15 
a44G44aaG44GG44GG44GC444G44Ga44G 14 
4nQ44GG44aC44Gu44GD4GG444GC44GG4 13 
4G44Ga44aGa44arj44-G44GG444n44aG4 12 
□44aC44GG44aC44GG4GG44GG444GG44.. 11 
44GD44UQ44LjGG44-:;G44nG44GG44GQ44G 10 
4GC44aG44GG44.-:u4GC44GC44GQ444GG4 9 
aa44Gn44GD444nG44GG44Ga44GC44GG48 
C44GG44' iG44n444::44GG44GG44GaG44G T 
□*Gn44GG444GG44GG44Ga44GG44GC44G 6 
4aG44aG444G44QG44G44nG44GaG44GG4,5 
4aG4an444GG44GG44 1 ‘:'44::G44Gn44GG4 4 
U44Gn444n44aG44GG44G44GGG44JG44J 3 
1 J44Ga4,4GG44GG44GG44Ga44GG44Ga44G 2 
4GD44GG44GG44Ga440D44GD44GG44GU41 
4GG44GL-44GQ44GC44"^044GC44GC44Ga4 1 


GGGQGDDGaGGaa»G 

aGaaaGGaaGaG«GG 

□GGGGGaaGaa4GGG 

GGGGaGaGGa4GaGa 

GGGGGaaGa4GaGQa 

GGGGGGGa4GGGGaa 

GaGGGGD4uGGGaaG 

aGGGCG4GGGGGGGG 

QGGGiJ4JGGGGgaGn 

GGGG4_.GaGQGuDaC 
aGG4acanGaGGaaG 
GC4GaGaGGanGaGQ 
n4GjaGGGGuGGGaGa 
4^GanGGC^GCGaGa 
□GGGGGGGaGGGGG4 
GGGGGGGCGGGGQQ* 
4GncGGaGGGGGaaa 
_4 -iGGGnnGGGGGGG 
C^4GGGaGGGGGGGg 
□aD4GGnGGGGGaGG 
□□QC4GGGGGGGGCa 
GGaGG4JQGaGGGGG 
aajnDJ4GGGiGGaaa 
□□□QGGG4aGaGQGG 
aGGGGGGG4GGGgGa 
CGGGGaGGG«GaGGG 
□□GGGG.jaGG4GGGG 
aGGQGGGGCGG4GGa 
□aGGGGGGGGGG4GG 
GGGGijGGCGaGQG4G 
□GnnnunnGGGGaG4 


*igG»*QC44Ga4«GG44GC44aG44GD44GG■ 
□44aG44GD!ii4aa4*aG4*G4aG4«aG4*C!G4 ; 
aa44aQ44GG44aG44aa*4Ga44aa44,aG44 ' 
g*G«4Ga4*aa44Ga44aa44G4GQ44GG44ai 
44aG44GG44GG4«aa4*Ga44QG44aG44aa■ 


aG44aC*4GCl44Ga44aa4*aG44aD44GG4* < 
□ «»OD4Q«S:;f:Cj44DD4«DG4*QG4G44GD44G ! 
*4Ga4*GG4*aG44GG44GC«4GG44GG44GC- 
4aG»4aG*Gi4GG44aa44aG*G44aG44Ga4: 
aGi»4aG4«GD44aa4*aa44GG44Gn4*GG44 1 
G44ua44aG#a*«QG44aa4a44aa4SGa44G: 
44GG44aa4liGG4«GG4«Ga4*aa44Ga*4GG- 
*aGi44aa*4n*nG*4GC4G44GC4«aa44Ga4; 
Ga44GG44GG44Ga4SGa44Ga44aa*4aa«4« 
□44GD44GSnG44GG4G44Ga44aG44aC44a; 
»«aa4«GG4*Ga44aa44Ga44Ga44Ga44GG' 
4aa44G«GG44GG4a4«GC44aa44Ga44Ga4; 
GG»4aa4*aG4«aa44aG4«aG44aa44Ga44« 
G44a4GG44GC*G44Ga4*Ga44aC44aG44G< 
44GC4«GG»4aa»«Ga*4aG44aG44GC44aG• 
«a4aa44GG4G4*aG4«Ga44aa4«Ga44a*ac 
aG«4GG*4GG4«GD4«Ga4*aa44GG44aa44« 
«GD4*aG*4GfiGa4«aa««acs*aa44a4GQ4< 
«4GG44GG44aG»«ac«4aC4«aG44GG44aa■ 
ai«*GG4«Ga**C»GG««aG4«Ga4*G4aG*4D = 
aG*4Ga4«aG44aG44GQ4*Ga4«aa4«aa«4< 
4aG4*DG44GG4«a»aa4«Ga««a4aG4*aG4' 
44CG44nG44Ga44GG*saa4#aa44aa«4aa' 
a4*Ga*«aG**aa!i*a4aG4*Ga*a**na*4a< 
aG44Ga44aa4«GQ4*aG4«aG*»GG4«Ga44 ' 
*GG!««Ga«4aG«4aa**a4GGa«Ga4G44GG4' 

Front. 


□ □GQCGGaGGQGGG4r 
ffiGGGGGGGQDanaaGGnD 
uGaaQGaaGnGGGcac4n 
□4GQDGGDGaaGDaGGCG 
aDGGaanoQacGac*GQG 
an*aGaGGGGQcaQaGGr 
□□aGGGGaaGnaoQan4G 
□□□4QGDGGGGGGGGDGn 
aaGGGaGaaaGGCG4aGC 
GaaG*GGaGGGCGaGcaa 
GGGGnQnaGaGGGGac4n 
□GnGG4,aaGGGCGDGGGa 
GaGaanGGGGGaGG«aGa 
□□GaGGSGaGGGaGGDaG 
□aaaaGGi]GnGaGaaG4G 
GQaGauG4aGGanancGG 
aonGGaGGnaaGaG4CQa 
GaaQaGQ04aGaaGCGGa 
acaaaaGQGaaaGQGG4G 
GaaGaGGGU4GGCGaGGG 
acaGaGGaoGaGGG4aQG 
GGGaaGGGGG«OGaGGDG 
GGGGGDGGGGaGaGGaSG 
GGaGaanaaGC4QaaGGG 
aGGGGacGGaGGGDftaaa 
GGGGaaaGGGaQ4GGGaa 
GaGGGGGGGQaaGnGa4G 
GGaaaGaaGnGaG4GGaG 
aCGGaGGGGGQGGGSaGQ 
GGGGGGQG[jGGaaaD4Ga 
□GaaaaaaGaGaaaQa4G 
'GGGGGGGGaGGGGGGGGft 


4G4G4,G*Q*GG4G»Ca4« 

□4a4G4G#a44G4:aG44G 

a4G4G4a4a4Ga4a44aG 

«C«Q404a4G4« 34«Ga4 

4c*a4a4G4G«uci*aa44 

□«G4G4G4a4G4,«aC44.1 

a4a4a4G4a4G«aa44G4 

*aftQ4G4C4G4G444GGa 

4GG*4a4a4a*a*aG44.a 

□44aQ4G4G«G»G*aD44 

aa4G44G4a*a»G44Ga« 

44G4Gn4a*a4Q4Q*4Ga 

a4a«a44G*a4G«GG44a 

«a4G*aa4a4a4n4aG4« 

4a*a4a4«G«a4n44QGG 

G»Q4n4aa«n4G*G44G4 s 

a4a*G*G«4a4G4aGQ4« O 

4a4G«Q4GG*a«G4a44G £ 

«a*G4G4G«4G4Gu4«Ga 

a4a4,G»G4GG«a444Ga« 

G4Q*G«G*a44Ga*Ga44 

4G4a«'n4G4Ga4«aG««a 

*a«G*«Ga*a*a4G44GG 

C404GG44G4G4G44CG4 

C«G4«04Ga«G4G«aG4« 

4G«G04a4*a*G«GG4*G 

4G*«a«G4GG*G«G4«aG 

G*aG*G4G4i«a4G*«GG* 

G44G4G«DI«Ga«C*Ga4« 

*Ga4GSiG«a44a«GG**a 

4*a4a«G*a*aQ«G4«GG 

□a«a!i)a4Giia*«G4«GGW 


•68 ’ON a.watt OIIX 


_ S — il :: X i- -.C O T o? Cl — 

GC44GG44nn44GG4 

44GrG44GG44GG44'^ 

44 G 44nG 44GC 44 J 

GG44Gl44Guj44JC4 

□□44,GC44GC44Gu4 

44JG444GC4_)G44-. 

44G444GG44GG44G 

□G444GG44G04GG4 
C444GG44GG44G'-i4 
444aG44GD44GG4G 
44GG44Ga44GG44G 
aGQ44aC44GG44G4 
□G44Ga44GC44GG4 
44GGn44GC44G44G 
44GG44GG44Gr.44G 
□ C44GGQ4,4G44Ga4 
aC44GG44GG44GG4 
44GC44GG44GG44G 
44GG44GG44GG44G 
Ul;.44GG444G44Ji_i4 
aC44aG44GG4*GG4 
44GG4Ga444aD44G 
44GG44ja444G4*G 
aG4GG44GG444GG4 
□□44GG44Ga44«G4 
4aG44GG44aG*44- 
44GQ44GG44nG44G 
a4«Ga44GG44GGa4 
GG44GG44aa44Ga4 
44G44GG44GGa44G 
44an44aG44GG44Lj 
aQ44,G44GQa«4GG4 


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Front. 


□□□□□□□«□□□□□□□□ 

□□□□□□□□*□□□□□□□ 

□□□□□□□□□«□□□□□□ 

□□□□□□□□□u^QDnan 

□□□□□□□□□Gnsnnan 

□□□□□□□□□□□□«□□□ 

□□□□□□□□□□□□□*□□ 

□□□□□□□□□□□□□□*□ 

□□□□□□□□□□□□□□□a 

□□□□□□□□»□□□□□□□ 

□□□□□□□□□*□□□□□□ 

□□□□□□□□□□*□□□□□ 

□□□□□□□□□□□«□□□□ 

□□□□□□□□□□□□«□□□ 

□□□□□□□□□□□□□ana 

□□□□□□□□□□□□□□an 

□□□□□□□□□□□□□□□a 

□□□□□□□□aanDDDDn 

□□□□□□□□□aaonnan 

□□□□□□□□□□aDDDna 

□□□□□□□□□□□aGDGD 

□□□□□□□□□□□□anoG 

□GGGGGGGGGGGGaGG 

□CGGGGGQGGGGGGaG 

□□□□□□□aGGGnGGGa 

□□□GGGGGaGGaGGGG 

□GDGGaGGGaaGGGGG 

□□□□GGGGGGaGGGGG 
□ GGG'GGGGGGGaGGGG 
□□aGGGGGGGGGaGaa 
□□GGGGGGGGGGGaGG 
□□aGGCGGGGGGGnaG 
□□GGGGGGGGGGGnGa 
□□□□□□□□aaaGGGGa 
□GGGGGGGGaGGGGGG 
□□□GGGGGGGaGGGGG 
□□□□□□CGGDGaGGGG 
□□□GDGGGGGGGaGGG 
□□GGGGGGGGGGGaGG 

□□□□□□□□□□□□□□aa 

□□□□□□□□□□□□□□na 

□□□□□□□□aGGGGGGG 

□□□□□□□□□aGGGGGG 

□□□□□□□□□naGGGGG 

□□□□□□□□□□□aGGGG 

□□□□□□□□□□□□aGGG 

□□□□□□□□□□□□□aGG 

□□□□□□□□□□□□□□aG, 

□□□□□□□□□□□□□□□a 

qcov eoc?*- ©OiOOt^ 

□□aaaaaaaaGaaaaa 
aGGaaaGGaaGaaaaa 
□aaaaaaGGaaaaaaa 
□□aaaGGaGaaaaaaa 
aaaaaaaaaaaGaaaa 
□aaaGGaGaaaaaana 
aaaaaGGaaaaaaaaa 
aaaGnaGGaaaaaaaG 
aaaaGGaaaaaaaaaG 
aaGGaGGaaanaaaaa 
aaaGGaaaGaaaaaaa 
aGGaDGaaaaaGaaaa 
aanaaaaaaaaaaaGa 
□□aGGaaaaGaaaaGa 
aGGaaaaaaaaanaaa 
□aGGaaanaaaaGaan 
•ii -ON a^Ava.w oqx 


Front. The Drawing in Draft. 64 Threads in the Pattern. 


SSSSosaanaca ^ □□aGDGGGqi 
?nSS*'JnQaGQO ® aGGGGGGGGl 

R2SS’^Cl*D*G*a ® □aGGGGGGGl 

«nRS£*D*naGa □□aGGGGGG 

*DGnaGnD*GnG == aGGGGGGGC 
RS?lS'^G*naGaG * GaGGGGGGG 

SnSSS*n»D«Ga t- GGaGGGGGG 

SPSS^GGDaGGD “ aGGGGGGGG 
□□aGGDannoaG * GaGGGGGGG 
□aqijDaaifg^Sa ^ GGaGGQGGG 
nRyH*GDdaGGG ® aGGGGGGGG 
GGanGnaQQo^n® GaGGGGGGG 
«nRSS*G*G»a»‘' GGaGGGGGG 
SSSGaGDuaOGG ® aGGGGGCuG 
RS^Sr!°G«aDGaG ® GaGGGGGGG 
ynRSS*G*G*D* GGaGGGGGG 
nRSS*GGa#GGG * aGGGGGGGG 
RSS3GG«anD»G 00 GaGGGGGGG! 
SSRSS*G»D»G* GGaGGGGGG; 
*RGGaGCDaGGG aGGGGGGGG 
PS*GGGamGaG oo □#.□□□□□□□ 
GaGaGanaGaGa r- GGaGaGGOG 
“GGqaGGGa.GGG * aGGGGGGGG 
GGapGGaGGDaC ® GaGGGnDGG 

y^RS’^*G*G'aGa r- GGaGGGGGn 

*GGGaGGGaGGGo aGGGGGGGG 
RSSSGGaGGGa.G ® GaGGGGGGG 

GananaGaGana <' GGaGGGGGG 
aGGGaGGGaGGG* aGGGGGGGG 
□ GaGGGaapGaG 00 GaGGGGGGG 
GaGaGaniGaGa GGaGGGGGG 
pSGGananGaaa - □□□□□□□□a 
GGaaaGGaaaaa 00 GGGaGGGuG 
aGaanaaaaaGG *« □□□□aGGGG 
aGnaaaaaoGaG-r nGGGGaaGG 
.naaaaaGDarjaG « GGGGGGaGd 
aaaaGGaaaGGa O' □□□□□□□an 
aagGaGannaaa- GGGGGGGGa 
□□aGaGGaiaaa =o GGaaGGGGG 
iRISGaaaaaGG « GnGpaGGGn 
aGcaaaaaoGaG □□□□GaGGG 

□aaaaannaGaG « □□□□□□anq 

aaaaGDaGaGGa o. □□□□□GGad 
aaGGaGaGoaaa - GGGGGGGGa 
□□a.GanGaaaaa oo GGGaGGGGq 
aGaGoaaaaaGG" □□□□aGGcd 
aGGaaaaaoGaG ^ □□□□□aGGd 
d GaaaaaGGaGaG «> □□□□□□aac 
aaaaGGaoacGa « □□□□□□□ac 
d aaGGaGaanaaa - □□□□□□□□#!, 

15 GGaGancaaaaa ® GGnaGGGGG 
^ aGSGcaaaaaGG oo naGGanaGd 
B aoGaaaaaciGaG □□□□□aGod 
CD GaaaaaGGaGaG « □□□□□caGd 
« aaaaGGaniGGa»»□□□□□□□ad 
2 aanGaGaanaaa'- □□□□□□□□* 

^ □□anaGGaSaaa ® GGGaGGGGG 
aoaDaaa*#*aD *-0 □□□□aGGGG 
aGGaaaaalGaa '»• □□□□□aGCd 
□aaaaaGGlGaG « □□□□□□aGd 
aaaaGGanaGGa « □□□□uGGad 
aaGGananmaaa-- □□□□□□□□* 
□□aaaGGaaaaa «= □□□aaGGca 
aaaGGaaaaaGG □□□□aGGOd 
aGGaaaaaGGaa □□□□□aGGc 
□aaaaaGGaaaGw□□□□□□aGd 
aaaaGGaaaGGa <» □□□□□□□ad 

aaonaGaGGaaa « □□□□□□□□* 
□□aGaGLiaaaaa = □□□anGGGG 
anaGGaaaaaaa *-5 □□□□aGOGd 
aGGaaaaaGGaa ^ □□□□□aGGd 
GaaaaaGGaGaG CO □□□□□□and 
aaaaGGaaaGGa « □□□□□□□?!?□ 
aaGGaGaGcaaa - □□□□□□□ua 
□□aaaGGaaaaa »□□caGGGGG 
aoaDGaaaaaGG «□□□□agoGG 
aGGaaaaaGGaa-O' GLjGGGaGGG 
□aaaaaGGaaaa CO □□□□□□aga 

aaaaGGaGaGGao. □□□□□□□ag 
aaGGaaaGGaaa - □□□□□□□□* 
□□aaaGGaaaaa == □□□aaaGGG 
aaaGGaaaaaGG •» □□□□aGGGG 
aabaaaaaGGaG ^ [inaaGagaG 
□aaaaaGGaaaa ” □□□□□□agd 

iaGGaaaGGaaa □□□□□□□□a 
□□aaaGGaaaaa ® □□□aaGand 
aaaGGaaaaaGQ *“ □□□□aggap 
aGdaaaaaaaan □□□□□agGp 
□aaaaaGGaaaa ® □□□□□□agd 
aaaabGaGaGGa □□□□□□uad 
aaGGaaaGGaaa□□□□□□□pa 
□□aaaGDaaaaa “= □□□anaaGG 
aaaaaaaaaanG « □pppagaGp 
aaaaaaaaGGaG □□□□□aapd 
□aaaaaGGaaaa co □□□□□pagd 
aaaaGGaaaDGa'?< □□□□□□□*□ 
aamaaaGGaaa- □□□□□□□pa 

□□aaaabaaaaa □□□aqppnp 
aaaGGaaaaaGG •« □□□uacGOG 
SaaaaaDGanor □□□□□aapd 
□aaaaaGGaaaa co □□□□□pagg 
aaiaboananaa « □□□□□□□an; 
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•08 'OK aAva.w sqx 


PICKOUT No. 18 




wmcsceoN - oot-fflxo-o'coN 


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WEAVK No. 82. 


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Front—72 Bolts in Chain. 


PICKOUT No. 19. 

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□♦♦♦**G*****aG»a#G«G«G*aQ##***G*****GG*a*a*G*G*GG«**GOG***GOGa*G*G*G*G*G 

l*GGGaa*aGGGG*a*G«G*a*0*a#GGnGG*GGGaG*G*0»D*G«G#a**«GGG**#GaG*n*G«a*G*G*G 

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l***GGO**«GaO*#«GaG*«*GGG«*#GOQ*»*GaO*GaGOn«GaGGG«*«Gaa***GGa*naQCC*GGGGG 

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OaaGaGaOaGGGGGaGGGaaGGaOGOaaaaoaGGaOGGaGaaGaaGGGGCGO^GOGGGSGGGGGGGGGGGGG 
aGOGGGGaaGaaGOGaGnGGoaaaaaGooooGoaoGGaQaGOGaaoaGaoa*aGGGa*aaaGoaaGGGcaGc 
aGGaGGGaaGaaGGGGGaaaaGaaaaonGaaaGGaGaaaGGGaGGaGaaG*nGOGG*aaoaaGGGGGGGGGG 
aGaaaaaaaaGoaaGaGGGaGGGOoGGaaGGaaaGGGaaGOGaGaGaaG*nGcaG#GDOGGaaGGGaGGnGG 
aaaaoaGaaaaoGGaGaaoGaaGaaGGaaaoGoaaaaaaGaaGOGGaQ*aGaGGGaGaGG«GcaGaaaGGaa 
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nmGGaGaaGaGaaGGnasGaaGoaaaGaaGGaaaGaaoGGOGGaaaGaQaGaGGoaGaGaaoGaaGGGGGG 

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GGGaGaGGGGGaGaasBGGaacieGGaaGanGaaaGaoaaaaGGGGGGGaaaGGGaaGGoaGnaGaaGGaGGGG 

nnnnadGrGGGaaQ*GGGaG*GaGaaaaaaaGGGaaaQGnaGGGaaaGaGGGaaaGGGaGGanaaaaaaGGa 

nGnGaGnGaaGGG*aaoGG*aaGaoGaGGaaaaaaGaaaaaaGaaGGGnaGaaaaaaaaaaGaGanaaGaGa 

nnGGaaanaGaG*aaGGGGbGaGG*aaaGGcaGaGaGaaaGaaGGGGGGGGGaGaaaaaanaGaaaGGGGGG 

nnGGGa*GGGGaaaaGbaaGQGaaoGGaGG«aaaaGGaanGGaGGaaonGaaGaaaGonaGGaGaGGGaaaG 

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Gnnn*iGOaaa#GGnGQGGGGQGGnGgGO*GGGGG*IGOQQGGGQOGaaGaGaaGOGaQGQQGGaaGGGGaGGG 

Rnn»nnnaa*aGGGGaaGaanaGGGna*aGaaG«GGggGGgnGnGGGnGnGaaaGaGnaaGaGGGGGGaGGa 

nnSnaGaa*GaaGaGGGaaGaGGana*baaGG«GGGGaaGGGaaaGaGGGGaaaGGaaaaGGGGaGaGaGGa 

n£nnGan«GaGGGGaaaaGaGaaGa«GGaGG*aGGaaaaaaaGaGGGGGGGGGGaGaGGaGGaaaGGGGaGG 

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B§BBO«»BBGGGG*«B»»«G***B«aGGGGBaanaGCB«B*BGGannGG8t 

□ □BGaBGnBGGBaCBGGBGGBGGBGGBGQiiiaaBaDBaGBagBgGBGaB I 

aBGGBGGBGGBGG S, 

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□BGaBbG*GbBGG*GGiGG«bcsiGG*aaBaa»aGiGaBba»GCBaa*a 8 
«i*«aaGGGGBGGGGcastGGGGac*i«»«BBaBBBiB*a»*»B*«aaaa 01 
□□BbaBGG*abBGGBGG*GGWGGBGG*Ga»aG*G3*aGBGGaiaGSiaG» ^ 

□ □□a*BBB*BGBB«B«BGW»«B**iGGGGGG*GGGDGG»GGgGgGBBB»6 

BGaBnbBGnBGGBGGBnGBGGBGGBGaBGaBaaiinGBGGBGGBGGBggy 

□ □a*GGGG*Si*B»G«SiB*BnGGGG*«B*GaaaaG»aaGGG»WBBGff»B8 
□BGGHGGBBGBGGBGaBGGSiGGBGGBaGBaaBGGBaGSiGaBGGBGGBG 8 
□□aGG*GGnGGGBBB*GGGGBaGG»BSiaBB«»GaGGB*aB*«BBBgBBi 

nnBGGBGGBGGBiGGBGQBGGBGGBGGBGGBGGBaGiiGGBGaBaGBGGB l 
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40 Harness Weave—48 Bars. 
Front. 


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33 Harness weave—48 Bars. 

Front. 


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28 Harness Weave—52 Bars. 


i’ront. 




♦♦ ♦♦ ♦ 4^ 44 ♦4^-» 44 

► ♦ 44 4 44 44 44 ' 44 44 4 44 4 

♦ 4 44 44 44 4 44 4 44 44 44 ^4 

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44 44 4 44 4‘ 44 44 44 .. 44 44 

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♦4 44 44 4 44 4 44" 44 4* 44' 44 

► ♦ .44 44 44 44 44 4 44^4 ♦♦ 

[ 44 44 44 4 44 4 44 44 • 44 44 

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44 44 44 44 ^ 4 44 4 

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♦♦ ♦♦ 44 44 4 44 4 44 44 44 

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P 44 44. 44 44 44 4 44 ^ 44 44 

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44 4 44 44 44 44 #4 4 4^ 4 44 

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♦ GGS^^GC^DG^^^GG^GG^^^GG^GG^^iiGGSGG^^^aG^aG^it^Gg 

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^ □^^-fenGi^GD^^^cG^an^s^GCi'nG^^SGCSGG^^^Gn^Gg^^^Gg^g 

♦ ♦♦■CC^an^^^Ga^GD^S^CGSGGiii^^naSaGS^^GG^GG^^^GGSgg 

♦ ♦arj^CD^^.^GGSGG^^AGG^GGS^^iGG^GGSf^WGa^GGi^^^GU^gD* 
♦□C#CG*4^GC^Gn!*#*Ga»GG!*»«GG»On#»S«GC«Ga»*»Gg«gg»^ 
GG4Gn»#:«DG»Gn»»4nG»!»'#aG#GG««i«GD»GG»aG##*iGGi*Ggt»« 
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4GG#44GG4GG444aGG.4GG444GG*GG444G4Ga#4«GG*nQl*44Gy 
aG44«GG4GG4«*GG.4Ga«GG4»4Ga«GG4»4GG44»GG4Qg444Gg4 
□444GG#C4GG*nG444GG4GG4««aG»aG4*4GG4na4GU«4*Gg«g 

4♦4G□♦□□«♦C□«□a4♦«□□*□□444G□«^□»44^□4□a□4♦4□□♦□g 

♦ ♦□□♦□□□♦♦'•(□□♦GO^WGGSGGS^^GCSGG^^^Gn^G^^^Ga^Gn'# 
l*aD#nG*4G444GG4GG4i<l!4aa«GG»44Gai*GD44»GG44«GG4gG4*< 
□□444GC4nG444GG4Ga4*«GG4GG444GG»GG444GG4GG44fGG4 

«:jG#44QG4GG444aD»:GG44»nG«GG*»4GG4nG444GG4Ga444Gg 

□4GG444GG4GD444GG4DG444GG«Ga44«GG40G44«GG«GG4*4g 

□G4GC444Gnj«nG444GG4nG444GG»GG44*aG4DG444GG4qU444l 

♦□a4aG44#IGD«iGG44«GG4GG444GG4nG*44aG4GG444GG4g044 

44aG#GG444GQ«GG«44nG4CG444GG4GG.4«4G'-j»GG44«nn4GG4i 

♦4*GG4GG444GG#iaG444aG*Ga4*4GG«GG44»GG4GG444gG«qai 

□♦♦4GG4GG«44GC4nC444Ga4nG4441Gn4GG44i«GG4GG44«aG4gi 

□n4GG4.44QG4GG444nG«GG444GG4GG»4»GG»GG444GG.4Gn*44 I 

□#GD444.Gn!#Ga444aG4GG44«GG»GG444Ga»GG444GG4GG444G. 

4GD4»4Gn4GG444Ga»GG»4«Ga*GG4»4DGI«GG444Gq4GQ444Gg! 

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84 Ilarness Weave—18 Bars. 

Front. 


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Front. 


ni£RS^t2SSS*f^'DGD.4444GGGa«GGn»GGG 


nnhnlSR?:i^2*^!*«C4GGnn4GGG44GL1444 
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Front. 


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11 Ilarness Weave—28 Bars. 

Front. 


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ri4G4G«GGG4G4n4GG*G»4444G4n»44««g 

»4a4;44G*44D4*4a»aGaG«a4GGGGG4G4G 

GGG4G4a4nGG4G4q44G»G4'4*4»D»D**|?^ 


44G44*C4«»G»»4D4»q»GGaGG»g4ggGyn 


□4D»G4bGa4G4n4ap40»444»G»G444:44G 


^ 44G4 


n 


91 
St 
It 
81 
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tl 
01 
6 
91 
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51 
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6 
8 
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9 
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8 
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4GGGGG4n40GnGG*G»4lLI4*:»U»»«u»w!*iu* 9 

□GCG4GlaGGGb4G4GG444a«4»n«»»a»***’ 

4Q4'#44*G«G««444GG4G4G4GnG4G4G4an8 

□□4n4GGGGG»G4naG44C444G*44p*«JD*5 
444««D4D*«4»!4D!iGGaDi*'D*'a*aa[ ;»;□♦.□♦ I 
10 Ilarness Weave—38 Bars. 

Front. 


G4 


4G4G444 


|B*g»OQgnaiQ®SQD|sB*iiBs»*Q*»*D. 

41' 


□□44GG44GG44Ga44Gn44GG4.4nG44nD44GG44uG44 6 
GG44GG44G4;4Ga44GG44aG44G4GG44GC44nG44gG4 8t 

44GG44GG44GG44DG44GG44GD44Grj44GG44gG44yg t 
♦ 4GG44CLj«GG44GC44GD44GG4G44GG44nG44gn44G8 

□G44G444GG44GG44GG44G44G4G44GG44GG44gD44^ 

□□♦4rjG44D44GG44GG44GGG44GGG44GG44GG44GU4S 

44GG44GG44GG44GG44[J44GG4n4»G44Ga44gG44gG9 

♦4GG44nG4GQ44GD44Gaa44GG44aGC44GG44gG44Gi 

□a44GG44GD44GG44G44GG44G4aG44.G44GQ44gg44 8 

nG44na44G44aa*4aGa44aG44GC44nGG44aG44gg46 

44aG44aQ44nG44G44Ga44aG4a44Gn44a44GG44gG 01 ^ 
.44aa44GG4GG44aGG44aG44GG44GG44GGG44gG44g u -g 
□ □♦4GG44Ga44G44aG44nG4«G4GD44GG44a44gg44 zi x 
□G4«Ga4*G44Gna«4Ga44GG44GG44GG44GaG44gG4 ft ” 
44Ga44GG44G44GG»4GU44GD4G4«GG44:an4*G44gg n B 

■ ♦4GG44GG4aOG4«GD44aG44nG44Da44GC44ggG44gs[ « 
5 □a44Gn44DG44an44GG44GG4«aG44GG44DG44Gqg4 u B 

■ nG44an44G4«nG«4Gn4*GG44GaGG44GG44ga44g44 hi | 
g 44GQ44Ca4GGG44CD44aD44Ga44Ga4*nD44gGg44GQi ^ 

»4GG44GG44G44GG44Ga44GG4444Ga44gG44g44ag H « 
t □D44na44G44GGG44GG44CG44GG44Gn44aGG4*Gg4ei ^ 
g□□44nG44GG44a44aG44Ga44G4Ga44GG44a44ug44 gi - 
W 44Ga44Ga4aG44GGG44GG44Gn4«GD44aaa44Gg44G 115 
o 44GG44Ga44GG44G44aG44GG4G44GG44G44GG4.4qgoi „ 
S GG44aG44G44GG44aGG44Grj44aG44aaG44ag4#ug4 6 -g 
□□44Ga440G44GG44G44Da44D4GG44a44GG44Gg44 8 ® 
44GG4«aG4GQ44nG44GaG44GD44aGn44GG44Gg44a i g 
44Gn44Gn44GG44GG44G44GG4G44C44Ga44ag44qg 9 ^ 
□□44GG44D44aG44Qn4*GaG44Gaa4«GG44GG44qg4 S 2 
aG44Ga44.nG4«GG44GG4.4G44a4G44an44Gg44ag44j> 
44nG44Lia4aG44GG44aa44GG4a44GD44Ga44.Gg44g8 
44GG44GG44Ga44aG44nG44GG44GG44GG44qg44gg t 
aG44GG44GG44GG44GG44GG44GG44CG44Ga44gq4#E 
□□44aG44Ga44GG44GG44aG44GG44GC44Ga44gg445 
4«Ga44GG44GG44GG44Ga44Ga44GG44Ga44GG44nGI 
44GG44nG44GG44GG44aCi44Gn44Ga44GG44gg44gg I 
□a44GG44GG44GG44nG44GG44GG44Da44na44GG44r. 
GG44GG44GG44aa44GG44Gn44Ga44GU44Gu44gg44 s 
44GG44GG44aG44GC44DG44GG44aG44GQ44Gg44GGi 
44GG4«GG44GG44GG44GG44GD44aG44GG44aG44GGI 
18 Ilarness Weave—40 Bars. 

Front. 


44GG44GG44.GG44DG4,4GG44aG44Gn44GC44GG44CG44GG44GG 

44G;G4.4aG44GG44Gn44Gn44G04GG44Ga44Ga4G44GG440G44G 

□a44GG4.4Gn»«GG44GG44GG44Ga44Gn44Ga44GC44.GG44GG4.« 

nG44GD44Gr4«CD44GG4«GG44G44Ga44GG44G4nG44GG44aa4 

44aG44GG44GD44GG44GG44aG44GG44GG44Gn44nG44GU44Ga 

44aG44GG44aG44aG44GG44Gn*GG44aG44GG4G44GG44GG44n 

□b44Ga*4aa*#GG4:4GD44QG44GG44Gn44GQ44aG44GG44gG44 

□□44GG44GG44aG44aG44:GG44a44GG44GG44G4Ga44GG44nG4 

44bG44GG44aD*4aG44GG44.GG44an44Ga4«GG44GG44GG44GG 

44an44GG44GG44GG44Ga44aG4GG44nG44GG4n44GG44gn44g 

nC4«GG44GG44GL:44GG44GD44GG44GG44nG44: l□♦4□□44□□4♦ 
□a44GD44Ga44na44GG44GG44n44aa44GG44G4GG44gG44nG4 
*4GG44Ga44GG44GG44GG44GG4GG44GG44GG4G44GG44Gg44q 
44Gn44Ga44GG44Ga44aa44GG44GD44GG44aa44GG44Gg44GG 
□□44GC44GG44aG44nG44GG44G44nG44GG44G4aa4*Gg44GG4 
QC44aG44aG44GG44nG44Gn44GG44QG44aG4«GG44Gg44Gg44 
44GD44GG44GG44aG44.GG44GG4GG44GG44Gl.J4G44GG44Ga44G 
44GG44GG44G044GG44aG44GG44GG44GG44GG44ag44Gg44Gg 
□n44an44GG44Ga44GG44an44G44Gn44GG44G4GG44GG44nG4 
^ Gn44GG44GG4«GG44GG44Ga44nG44nG44aG44GG44Gg44Dg44 
” 44GG44.DG44nU44aa44GG44a04aG44nD44GU4D44GG44GG44g 
6 44Ga44GG44GG44Ga44GG44GG44GG44GC44aG44gg44gg44gg 
13 nD44GG44GG44GG44GG44GG44G44aG44,GG44G4GG44gg44gg4 
fH□□44GC44GG44Gn44GC44Ga44GG44GG44Qg44ag44Gg44Gn44 


_ jLJ#^U^lJUt-.*UU»#!UU#UU!!^*UL:v.«ULJ^«UU»^LJLjy*LJL.]y!V ' 

44GD44GG44GG44GG44GG44nG44GC44an44GG44gC44gg44Gg. 

4Gn44GG44Gn4G44GD44nG44G44GG44GG44aG44gg44gg44gg 

□ a44GG44GG44GD44GG44GG44GG44GG44,GG44GG44GG44gC44 



□44GG44Ga44a4GG44nG44Ga4CG44GG44GG4.4aD44gg44gg44« 
nG44GG44GG44Gn44GG44GG44GG44GG44GG44GG44gg44gg44” 

4Ga44GG44aG4G44Ga44GG44a44Ga44GG44CG44GG44GQ44Gn^ 


□□44nG44Ga44GG443a443G44aa4«GG44Ga44gn44GG44gG44- 

'Anrii*4GG44n04G44GQ44DG44U44QG44GG44GG44QLi44GQ44GQ '' 
44 aa* 4 aa 44 GG 4 : 4 GG 44 GG 44 GG 44 GG 44 GD 44 GG 44 gg 44 ng 44 gg« 
n44aG44GG44G4Gn*'*nn'*.4nn4nG44GD44aG44nG44GG44uD44 ** 

□□44GG44GG44GGN 

6 Harness Weave—48 Bars. 


Front. 


48 Threads in the Drawing in Draft. 




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